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THE  DEVINNE  PRESS 

CERTIFIES  THAT  THIS  COPY  OF  JAPANESE  COLOUR-PRINTS 
AND  THEIR  DESIGNERS  IS 

No 

OF  THE  EDITION  OF  ONE  THOUSAND  COPIES  PRINTED  FROM 
TYPE  FOR  THE  JAPAN  SOCIETY  IN  FEBRUARY 
NINETEEN  HUNDRED  AND 
THIRTEEN 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/japanesecolourprOOjapa 


HARUNOBU 


Lovers  walking  in  Snow 


Catalogue  No. 
Actual  size  IOI4  X 8's  incl 


JAPANESE  COLOUR-PRINTS 
AND  THEIR  DESIGNERS 


BY 

FREDERICK  WILLIAM  GOOKIN 


A LECTURE  DELIVERED  BEFORE 
THE  JAPAN  SOCIETY  OF  NEW  YORK 
APRIL  19,  1911 

TO  WHICH  IS  APPENDED 

A CATALOGUE 

OF  A LOAN  COLLECTION  OF  JAPANESE  COLOUR-PRINTS 
EXHIBITED  AT  THE  FIFTH  AVENUE  BUILDING 
APRIL  19  TO  MAY  19,  1911 

TOGETHER  WITH 

REPRODUCTIONS  OF  REPRESENTATIVE  PRINTS 
INCLUDED  IN  THE  EXHIBITION 


NEW  YORK 

THE  JAPAN  SOCIETY 
1913 


Copyright,  1913,  by 
THE  JAPAN  SOCIETY 


LIST  OF  ILLUSTRATIONS 


HARUNOBU 

MORONOBU 

KIYOMASU 

MASANOBU 

TOYONOBU 

KIYOMITSU 

HARUNOBU 

HARUNOBU 

HARUNOBU 

HARUNOBU 

HARUNOBU 

KORYUSAI 

SHUNSHO 

BUNCHO  . 

KIYONAGA 

KIYONAGA 

KIYONAGA 

SHUNCHO 

EISHI  . . 

SHARAKU 

UTAMARO 

TOYOKUNI 

HOKUSAI  . 


Lovers  walking  in  Snow Frontispiece 

Nobleman  and  two  Ladies  at  Seashore  . Facing  page  4 

Actors’  Boating  Party 6 

Geisha  playing  Samisen 8 

Actor  reading  Letter 10 

Daimyo  Procession  Game 12 

Young  Woman  before  Torii 14 

The  Sleeping  Elder  Sister 16 

The  Sleeping  Elder  Sister 18 

The  Sleeping  Elder  Sister 20 

Woman  reading  Letter 22 

Musume  leaping  from  Temple  Balcony 24 

Woman  in  Red 26 

. Actor  as  Woman  talking  to  Men 30 

Man  and  two  Women  approaching  Temple  ...  32 

Holiday  Group  at  Gotenyama 34 

Picnic  Party 36 

Women  watching  Girls  bouncing  Balls 38 

Fete  in  Nobleman’s  Palace 40 

Two  Actors 42 

Woman  with  Musical  Toy 44 

Women  in  Bath  House 46 

Fuji  from  Ushibori 48 

50 


HIROSHIGE  . . Pines  at  Hamamatsu 


JAPANESE  COLOUR-PRINTS  AND 
THEIR  DESIGNERS 


; 


JAPANESE  COLOUR-PRINTS  AND 
THEIR  DESIGNERS 


IN  the  annals  of  art  production  the  colour-prints  designed  by  the 
master  artists  of  the  Ukiyoe  school  occupy  a unique  place.  They 
represent  a plebeian  art  which  was  not  a spontaneous  upgrowth 
from  the  soil,  but,  so  to  speak,  a down-growth  or  offshoot  from  an  old 
and  highly  developed  art  of  aristocratic  lineage. 

This  elder  art  had  its  fountain-head  in  ancient  China.  That  country, 
during  the  Tang  and  the  Sung  dynasties  (618-905,  960-1280),  was  the 
seat  of  an  aesthetic  movement  during  which  painting  and  other  arts 
reached  an  extraordinarily  high  development.  To  the  works  produced 
during  this  great  flowering-time  of  art  the  Japanese  painters  of  the 
classical  schools  turned  for  inspiration  and  enlightenment.  These 
works  were  distinguished  by  singleness  of  purpose,  rhythmic  vitality, 
and  synthetic  coherence,  and  by  a clear  conception  of  the  essential  that 
goes  far  beyond  anything  elsewhere  attained,  and  which,  when  fully 
apprehended,  must  inevitably  force  a revision  of  Western  ideas  and 
criteria. 

The  art  of  ancient  China  and  of  the  earlier  Japanese  schools  is  an  art 
refined,  poetic,  and  intensive  to  the  last  degree.  It  is  based  upon  pro- 
found understanding  of  aesthetic  laws.  The  artists  were  carefully 
grounded  in  the  fundamental  principles  that  govern  all  art,  whether 
Oriental  or  Occidental.  The  result  of  this  training  is  apparent  in  the 
homogeneity  of  their  works.  In  Europe  very  confused  notions  have 
prevailed  as  to  what  should  be  done  and  what  is  permissible  in  art.  Not 
even  the  great  artists  have  always  seen  clearly;  had  they  done  so,  it 
cannot  be  doubted  that  Western  achievement  would  have  attained  a 
much  higher  level  than  it  has  ever  reached. 

In  the  Japanese  modifications  of  the  ancient  Chinese  art  its  traditions 

CB] 


JAPANESE  COLOUR-PRINTS 


and  aesthetic  ideals  were  sedulously  preserved.  With  only  rare  excep- 
tions, the  artists — and  under  this  head  it  is  necessary  to  include  potters, 
lacquerers,  metal-workers,  swordsmiths,  and  others — were  drawn 
from  the  upper  classes.  Many  of  them  were  in  the  service  of  the 
daimyo,  and  did  not  sell  their  productions,  but  received  from  their 
noble  patrons  regular  stipends  in  koku  of  rice.  Seldom  did  any  of 
their  works  find  their  way  into  the  hands  of  the  common  people,  who 
had  little  opportunity,  therefore,  to  become  familiar  with  them.  Grad- 
ually, however,  as  the  number  of  paintings,  statues,  and  other  art  ob- 
jects multiplied  and  the  temples  were  tilled  with  votive  offerings,  the 
classical  art  made  its  impress  upon  buildings,  wearing  apparel,  and 
utensils  of  all  sorts;  its  conventions  and  principles  were  laid  hold  of 
by  all  classes  and  became  the  heritage  of  the  entire  people. 

The  social  fabric  in  old  Japan  was  one  of  sharp  distinctions.  At  the 
upper  end  of  the  scale  were  the  Emperor;  the  kuge,  or  court  nobles;  the 
daimyo,  or  lords  of  the  two  hundred  and  fifty-one  provinces;  and 
the  samurai,  or  hereditary  military  men,  from  whom  were  recruited 
the  officials,  priests,  and  scholars.  Between  these  and  the  lower  classes 
was  an  almost  immeasurable  gulf.  Highest  among  the  heimen,  or 
commoners,  were  the  farmers.  Below  them  were  the  artisans,  and  still 
lower  were  the  merchants,  innkeepers,  servants,  and  the  like;  while 
lowest  of  all  were  the  eta,  or  outcasts,  a class  comprising  scavengers, 
butchers,  leather-workers,  and  others  engaged  in  what  were  considered 
degrading  occupations. 

Under  the  peaceful  regime  of  the  Tokugawa  shoguns  there  was  a 
sociological  change  that  in  the  cities  almost  amounted  to  a transforma- 
tion. The  most  salient  feature  was  the  rise  of  the  tradesmen  and  arti- 
sans to  wealth  and  power.  Many  places  of  amusement  sprang  up, 
restaurants  and  tea-houses  multiplied,  jugglers,  story-tellers,  musi- 
cians, and  other  itinerant  entertainers  found  audiences  in  every  street, 
fetes  were  frequently  held  in  the  temple  compounds,  the  theatre  rose 
to  a position  of  prominence,  and  the  yukwaku,  or  courtesan  quarters, 
with  their  medley  of  attractions,  became  established  institutions. 

The  art  of  the  Ukiyoe  was  a direct  outcome  of  the  gay  life  of  this 
time.  The  inception  of  the  school  dates  back  to  the  closing  years  of  the 

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Nobleman  and  two  Ladies  at  Seashore 


AND  THEIR  DESIGNERS 


sixteenth  century,  when  a reaction  set  in  against  the  Chinese  classicism 
of  the  Ashikaga  period.  This  manifested  itself  in  the  choice  of  Jap- 
anese instead  of  Chinese  subjects,  and  in  novel  treatment  in  which 
features  of  both  the  classic  Kano  and  Tosa  styles  were  combined,  but 
which  in  many  respects  broke  away  from  academic  traditions.  The 
reputed  leader  of  the  revolt  was  Iwasa  Shoi,  better  known  as  Matahei, 
son  of  the  Daimyo  of  Itami;  but  other  distinguished  artists,  notably 
Kano  Sanraku,  also  painted  pictures  in  the  new  manner,  which  was  not 
then  held  to  constitute  a distinct  school.  The  subjects  being  drawn 
from  the  life  of  the  people,  these  pictures  were  called  Ukiyoe.  £.  is 
the  Japanese  term  for  a picture  or  drawing.1  Ukiyo,  as  originally  writ- 
ten, had  a Buddhistic  signification  and  was  applied  to  the  secular  as 
distinguished  from  the  ecclesiastical  world.  Literally  the  word  means 
“the  miserable  world,”  but  as  now  used  it  may  be  more  accurately 
translated  as  “the  passing  (or  floating)  world  of  every-day  life.” 

Perhaps  for  the  reason  that  Ukiyoe  themes  were  not  considered  quite 
dignified,  and  because  they  did  not  express  poetic  ideas,  the  Ukiyo 
paintings  of  Matahei  and  his  contemporaries  and  successors,  though 
prized  and  much  sought  after,  were  seldom  signed,  and  the  identifica- 
tion of  their  authorship  is  a matter  of  extreme  difficulty.  For  more 
than  half  a century  works  in  this  manner  continued  to  be  produced 
in  considerable  numbers,  but  the  movement  did  not  crystallize  into 
a school  until,  in  the  person  of  Hishikawa  Moronobu,  a leader  ap- 
peared to  give  it  form  and  direction.  Moronobu  was  an  artist  of  rare 
distinction.  His  paintings  were  eagerly  sought  by  the  daimyos  and  the 
wealthier  samurai.  But  Moronobu  was  a man  of  the  people,  and  it 
was  as  a designer  of  book  illustrations  and  later  of  ichimai-ye,  or 
single-sheet  prints,  that  he  gave  the  impetus  to  Ukiyoe.  For  fifty  years 
or  more  prior  to  his  time  books  with  engraved  illustrations  had  been 
published  in  Japan,  but  they  were  comparatively  few  and  the  illustra- 
tions were  poor  and  crudely  executed.  The  twelve  drawings  Moronobu 
made  for  a book  of  instruction  for  women  in  etiquette  and  hygiene, 
published  in  1659,  marked  a decided  advance.  This,  so  far  as  we  know, 

lE  and  ye  both  have  this  meaning.  They  are  pronounced  alike,  the  y being  silent,  but  are 
represented  by  different  ideographs. 

C 5 ] 


/ 


JAPANESE  COLOUR-PRINTS 

was  the  first  of  a long  series  of  books  illustrated  by  him.  Their  popu- 
larity was  deservedly  great,  and  by  them  his  fame  became  wide-spread. 
The  illustrations  were  printed  in  black  from  blocks  similar  to  those 
from  which  the  text  was  printed,  and  were  characterized  by  fine  broad 
treatment  and  a rather  wiry  but  strong  and  expressive  outline. 

About  1670  Moronobu  began  to  issue  large  single-sheet  prints  which 
could  be  affixed  to  screens  or  mounted  as  kakemono.  These  prints, 
which  were  impressions  in  black  from  one  block  only,  are  known  as 
sumi-ye — sumi  being  the  Japanese  name  for  Chinese — or,  as  we  incor- 
rectly call  it,  India — ink.  They  were  designed  to  be  coloured  by  hand, 
and  apparently  a part  of  the  edition  was  so  coloured  before  being 
placed  on  sale  by  the  publishers.  At  first  this  colouring  consisted  of  a 
few  touches  of  yellow-green  crudely  laid  on;  later  it  became  more 
elaborate,  and  occasionally  we  meet  with  prints  that  are  very  beauti- 
fully coloured,  but  in  such  cases  it  is  impossible  to  tell  when  or  by 
whom  the  colouring  was  done.  The  probability  is  that  in  some  in- 
stances it  was  the  work  of  purchasers  of  the  prints. 

Moronobu’s  pupils,  of  whom  there  were  many,  devoted  themselves 
almost  exclusively  to  painting.  After  his  death  in  1695,  the  production 
of  prints  fell  chiefly  into  the  hands  of  Torii  Kiyonobu  and  his  son 
Torii  Kiyomasu,  two  artists  who  take  rank  among  the  most  talented 
men  of  the  Ukiyoe  school.  Moronobu  had  taken  for  the  subjects  of  his 
prints  historic  incidents,  the  manners  and  customs  of  the  people,  and, 
in  particular,  women  and  their  occupations  and  amusements.  To  these 
the  Torii  artists,  seeing  a new  and  fertile  field  for  the  print-designer 
in  the  rise  of  the  theatre  as  a popular  form  of  entertainment,  added 
portraits  of  actors  in  the  costumes  of  their  most  admired  roles.  Espe- 
cially esteemed  were  Kiyonobu’s  portraits  of  the  first  Danjuro.  Dur- 
ing the  Genroku  period  (1688-1704)  the  people  developed  a passion 
for  the  theatre  that  amounted  to  veritable  madness.  In  the  first  quar- 
ter of  the  eighteenth  century  this  reached  a height  that  sorely  troubled 
the  Tokugawa  rulers.  To  check  it  various  expedients — among  them 
the  exclusion  of  women  from  the  stage — were  tried.  They  only  added 
fuel  to  the  flame.  Certain  gross  practices  were  abolished.  This  helped 
to  purify  the  theatre,  but  also  to  perpetuate  it  by  removing  the  seeds 

C 6 H 


Catalogue  No.  13 

Actual  size  2014  X 11%  inches 


AND  THEIR  DESIGNERS 


of  what  must  inevitably  have  meant  its  early  decay.  Actors  of  distin- 
guished ability  became  popular  idols.  Their  comings  and  goings  were 
like  royal  progresses.  Wherever  they  went,  were  it  to  view  the  cherry 
blossoms  at  Ueno,  for  a boating  party  on  the  river,  or  for  a visit  to  the 
Yoshiwara,  they  moved  in  state.  Yet  their  rank  in  the  social  scale  was 
so  low  that  they  were  looked  upon  as  little  better  than  eta.  The  earliest 
actors  were  contemptuously  termed  kawara-mono  (river-bed  folk), 
from  the  fact  that  the  first  theatrical  performances  in  Japan  were  upon 
a stage  erected  in  the  dry  bed  of  the  Kamogawa  at  Kyoto.  The  stigma 
that  attached  to  their  origin  and  to  the  vulgarity  of  the  early  perform- 
ances has  never  been  entirely  lifted.  Many  of  the  Ukiyoe  artists  felt  it 
a degradation  to  make  drawings  of  actors.  Nevertheless  the  popular 
demand  created  a supply,  and  for  more  than  a century  a large  propor- 
tion of  the  enormous  output  of  prints  consisted  of  theatrical  scenes 
and  portraits  of  the  performers. 

Many  of  the  prints  produced  during  the  early  years  of  the  eighteenth 
century  were  large  single  figures  of  actors,  geishas,  and  women  of  the 
Yoshiwara.  These  were  broadly  treated,  with  strong,  free  brush- 
strokes based  upon  the  technique  of  the  Kano  masters  and  quite  differ- 
ent from  Moronobu’s  style,  which  was  more  nearly  like  that  of  the 
Tosa  painters.  Each  of  the  classical  schools,  I may  explain,  had  its 
own  peculiar  methods,  for  which  brushes  of  special  shape  were  re- 
quired. In  their  spontaneity,  their  freedom,  their  glorious  sweep  of 
line,  these  prints  are  among  the  finest  works  of  the  Ukiyoe  school. 
Among  them  are  many  masterpieces  of  linear  composition.  Yet  by 
the  people  of  the  upper  classes  they  were  regarded  as  hopelessly  vulgar. 
Though  the  Kano  painters  used  similar  sweeping  strokes,  they  laid 
great  stress  upon  carefully  modulated  tone.  The  notan,  or  lightness 
and  darkness  of  the  ink  in  different  parts  of  the  drawing,  was  an  essen- 
tia] quality.  It  should  not  be  confused  with  chiaroscuro,  the  science  of 
light  and  shade.  Notan  signifies  merely  difference  in  lightness  and 
darkness  of  tone.  In  the  early  prints  this  did  not  appear.  All  the  lines 
were  uniformly  black.  And  the  addition  of  colouring  which  was 
looked  upon  as  coarse  and  gaudy  was  a further  offence  to  persons  of 
refined  taste. 


JAPANESE  COLOUR-PRINTS 

Our  vision  not  being  hampered  by  the  canons  of  the  Kano  academy, 
we  can  appreciate  the  distinguished  character  of  these  compositions. 
Unquestionably  the  brush-work  of  a Sesshu,  a Motonobu,  or  a Tanyu 
— to  name  a few  only  of  the  most  eminent  of  the  Japanese  painters — 
has  a precious  quality  not  to  be  found  in  any  printed  line.1  Neverthe- 
less the  primitive  Ukiyoe  prints  have  a freshness  and  vital  force  pecu- 
liarly their  own.  The  word  “primitive”  as  applied  to  these  prints  calls 
for  a word  of  explanation.  They  are  primitive,  not  in  their  art,  which 
is  highly  developed,  but  merely  as  regards  its  application  to  wood- 
engraving. 

The  failure  of  Japanese  connoisseurs  to  appreciate  Ukiyoe  art  is  not, 
however,  entirely  or  even  principally  because  of  its  technique.  The 
art  of  the  classical  schools  is  deeply  imbued  with  poetic  feeling  and 
usually  is  dignified  in  subject.  Ukiyoe  art,  on  the  contrary,  is  flippant, 
whimsical,  comic.  Except  when  it  deals  with  portraits,  landscapes,  or 
birds  and  flowers — subjects  that  are  not  strictly  Ukiyoe — it  is  seldom 
that  the  things  depicted  are  intended  to  be  taken  quite  seriously.  In 
nearly  every  picture  there  is  some  joke,  open  or  cleverly  hidden,  some 
amusing  fantasy  in  the  shape  of  a modern  analogue  or  travesty  of 
popular  myth,  well-known  tale,  or  historical  event.  Sly  hits  at  the  vices 
or  follies  of  the  aristocrats  are  not  uncommon.  A very  large  propor- 
tion of  the  subjects  deals  with  the  theatre  and  the  denizens  of  the  Yoshi- 
wara.  To  the  Japanese  of  the  upper  classes  Ukiyoe  art  was  a synonym 
for  the  art  of  the  underworld.  It  is  not  surprising  that  they  failed  to 
appreciate  its  merit.  To  give  Ukiyoe  paintings  or  prints  an  honourable 
place  in  one’s  house  was  a confession  of  lack  of  taste.  Were  there  no 
other  reason,  the  subjects  for  the  most  part  rendered  them  unfit,  if 
not  impossible.  The  prints  were  indeed  amusing,  and  therefore  many 
of  them  were  saved;  but  they  were  looked  upon  much  as  we  regard 
the  pictures  in  our  comic  periodicals.  Even  when  the  art  in  these  is 
good,  it  is  hard  to  disassociate  it  from  the  humour  and  to  enjoy  it  for 
itself  alone.  More  commonly  we  fail  to  appreciate  it  as  art  or  even 
to  think  of  it  as  such.  So  it  was  with  the  prints.  To  the  Japanese  they 

lIt  is  well  to  bear  in  mind  that  as  the  prints  are  not  to  be  considered  as  paintings,  they 
should  not  be  compared  with  paintings. 

C 8 3 


MASANOBU 

Geisha  playing  Samisen 


Catalogue  No.  24 

Actual  size  28^4  X 5j^  inches 


AND  THEIR  DESIGNERS 


appeared  little  better  than  children’s  toys.  In  considering  this  we 
should  not  overlook  the  important  circumstance  that  when  first  printed 
they  were  in  general  less  charming  than  they  are  to-day.  The  won- 
derful colour  that  makes  them  so  entrancing  has  come  in  large  mea- 
sure through  the  mellowing  influence  of  time.  Not  infrequently  this 
has  wrought  transformations  that  would  seem  incredible  did  not  close 
study  show  clearly  the  changes  that  have  taken  place. 

Even  to-day  inherited  prejudice  prevents  wide-spread  appreciation 
of  the  prints  in  the  land  of  their  origin.  Our  enthusiastic  admiration 
is  still  more  or  less  a mystery  to  our  neighbours  across  the  Pacific.  Only 
now,  when  most  of  the  fine  prints  have  passed  into  the  hands  of  Euro- 
pean and  American  collectors,  are  the  Japanese  connoisseurs  begin- 
ning to  understand  how  it  is  that  the  Western  art-lover,  unfettered  by 
any  traditional  point  of  view  and  not  disturbed  by  any  meanings  the 
subject  may  hold  or  suggest,  is  able  to  perceive  the  glorious  colour,  the 
superb  composition,  the  masterly  treatment  and  rare  beauty  to  which 
they  have  been  blind. 

The  history  of  art  is  everywhere  among  civilized  peoples  a record 
of  the  influence  of  a succession  of  ideas,  each  in  turn  dominating  for 
a longer  or  a shorter  period  the  character  of  what  is  produced.  When 
an  idea  has  sufficient  vitality  to  constitute  the  germ  of  a specific  type 
of  art,  and  artists  of  creative  genius  are  inspired  by  it,  the  votaries 
working  under  the  stimulus  of  a common  ideal  form  what  we  desig- 
nate as  a school.  “When  left  to  pursue  its  course  of  development 
unchecked,”  each  marked  type  of  art,  as  John  Addington  Symonds 
pointed  out  in  one  of  his  essays,  “passes  through  stages  corresponding 
to  the  embryonic,  the  adolescent,  the  matured,  the  decadent,  and  the 
exhausted.”  This  sequence,  he  showed,  was  clearly  marked  in  the 
evolution  of  Italian  painting,  the  Attic  and  the  Elizabethan  drama. 
Any  of  the  classic  schools  of  Japanese  painting,  the  Kose,  the  Ya- 
mato,  the  Sesshu,  or  the  Kano,  would  furnish  an  excellent  illustration, 
though  in  studying  these  movements  it  would  be  necessary  to  follow 
them  back  to  their  Chinese  antecedents.  The  Ukiyoe  school  affords  a 
particularly  striking  example.  In  the  works  of  the  earlier  artists — 
Moronobu,  Kiyonobu,  Kiyomasu,  and  the  Kwaigetsudo  group — we  find 

C 9 3 


JAPANESE  COLOUR-PRINTS 

superabundant  vigour,  swift  inspiration,  and  splendid  though  some- 
times brutal  force.  The  note  of  prophecy  that  these  works  contain  is 
found  also  in  those  of  the  next  generation  of  artists,  foremost  among 
whom  was  Okumura  Masanobu.  The  fire  of  enthusiasm  still  glows 
brightly,  but  more  attention  is  paid  to  subtleties  of  style,  to  beauty  of 
detail,  and  to  the  development  of  technical  processes.  Hand-coloured 
prints  are  superseded  by  those  in  which  the  colour  as  well  as  the  black 
outline  is  printed.  Ukiyoe  has  become  an  art  of  the  printed  pictures 
which  in  large  measure  have  taken  the  place  of  paintings. 

Then,  after  a brief  interval  of  eager  experiment  and  rapid  changes, 
comes  the  flowering-time,  when  a group  of  great  artists  turn  out  by  the 
thousand  works  in  which  spiritual  intensity  is  combined  with  grace, 
beauty,  refinement  of  composition,  and  technical  perfection.  This  is 
the  epoch  of  Harunobu,  Shunsho,  Shigemasa,  Koryusai,  Kiyonaga,  and 
Shuncho. 

The  decline  of  the  initial  impetus  that  brought  the  school  into  being 
is  plainly  apparent  in  the  works  of  the  next  generation.  Utamaro  was 
an  artist  of  the  very  first  rank,  whose  genius  cannot  be  gainsaid;  Eishi 
and  Toyokuni  were  only  a little  less  brilliant;  but  it  was  their  misfor- 
tune to  come  upon  the  scene  when  the  cycle  of  animating  ideas  had 
been  exhausted.  Too  virile  to  be  content  merely  to  echo  the  perform- 
ances of  their  predecessors,  they  spent  their  energy  in  inventing  varia- 
tions upon  the  perfected  type.  It  was  the  only  course  open  to  them,  but 
it  led  steadily  and  swiftly  downward,  though  neither  the  artists  nor  the 
people  who  gleefully  applauded  each  successive  innovation  were  con- 
scious of  the  decadence. 

With  the  appearance  of  still  another  generation  of  artists  upon  the 
scene,  the  degradation  of  the  school  was  complete.  Artistic  feeling 
was  obscured  by  blatant  vulgarity  and  affectation.  There  was  a steady 
letting  down  to  the  level  of  the  popular  taste,  which  was  steadily  low- 
ered in  consequence.  The  skill  of  the  more  able  artists  was  expended 
in  the  production  of  works  interesting  chiefly  as  tours  de  force,  more 
remarkable  for  technical  than  for  artistic  merit;  the  tendency  toward 
exaggerated  drawing  became  more  pronounced;  colouring  grew  more 
crude,  raw,  and  over-vivid.  Coincident  with  this  decline  in  the  art  of 

Cio] 


TOYONOBU 

Actor  reading  Letter 


Catalogue  No.  33 

Actual  size  26 U X 9M  inche: 


AND  THEIR  DESIGNERS 


the  Popular  School  was  a change  for  the  worse  in  the  fashions  of  the 
time.  Loud  patterns  for  brocades  and  other  fabrics  came  into  vogue; 
garments  became  showy  and  elaborate;  coiffures,  more  especially 
those  of  the  demi-monde,  were  often  startling  in  their  extravagance. 
As  the  prints  were  accurate  mirrors  of  contemporary  life,  in  these 
changed  fashions  may  be  found  a partial  explanation  of  the  inferiority 
of  the  works  of  the  later  men.  The  Ukiyoe  Ryu  was  a school  of  design 
which  laid  its  impress  upon  all  of  the  arts.  The  prints  were  but  one 
of  its  phases,  though  the  principal  and  the  most  distinguished  of  them. 
The  rise,  culmination,  and  disintegration  took  place  all  along  the  line. 
Toward  the  middle  of  the  nineteenth  century  the  Ukiyoe  school  sank 
into  the  dotage  of  decrepitude,  and  then  into  the  sleep  from  which 
there  is  no  awakening.  I choose  this  phrase  deliberately.  An  art  that 
is  of  the  past  can  never  be  revived.  We  may  strive  to  work  in  the  style 
of  Harunobu  or  of  Kiyonaga.  All  we  can  do  is  to  copy  their  forms  and 
imitate  their  mannerisms.  We  cannot  possibly  get  our  inspiration 
from  the  same  source  as  they;  that  dried  up  at  the  fountain-head  long 
ago.  The  best  work  we  can  do  in  their  style  must  necessarily  lack  cre- 
ative force  and  be  without  a spark  of  real  vitality. 

Primarily  the  charm  of  the  Ukiyoe  colour-prints  is  due  to  the  fact 
that  the  leading  masters  of  the  school  were  artists  of  exceptional 
power.  It  is  also  due  to  the  fact  that  most  of  them 1 made  print-design- 
ing their  chief  occupation,  to  which  they  devoted  their  thought,  time, 
and  skill,  and  that  with  rare  exceptions  they  were  less  distinguished 
as  painters. 

From  about  1670,  when  Moronobu  began  to  issue  single-sheet  prints, 
until  about  1742,  a period  of  at  least  seventy  years,  the  prints  were  in 
black  outline  and  were  coloured  by  hand.  They  were,  in  fact,  cheap 
paintings.  Early  in  the  eighteenth  century  the  chief  pigment  used  in 
colouring  them  was  red  lead.  The  Japanese  name  for  this  pigment  is 
tan,  and  the  prints  upon  which  it  appears  are  designated  as  tan-ye. 
About  1710  yellow  and  citrine  were  commonly  used  with  the  tan.  Four 
or  five  years  later  a new  style  of  hand-colouring,  said  to  have  been  de- 

1 A few  men  of  first-rate  ability  were  exclusively  painters.  Among  these  Miyagawa  Choshun 
is  the  most  conspicuous.  The  Kwaigetsudo  artists,  also,  though  they  designed  a few  prints, 
were  painters  rather  than  print-designers. 

Din 


JAPANESE  COLOUR-PRINTS 

vised  by  Torii  Kiyonobu,  came  into  vogue  and  greatly  modified  the 
style  in  which  the  prints  were  designed.  In  place  of  tan  he  substituted 
beni,  a very  beautiful  but  fugitive  red  extracted  from  the  saffron.  This 
was  used  in  combination  with  a greenish  yellow  (probably  gamboge) 
and  low-toned  blues  and  purples.  Finer  details  were  introduced  into 
the  designs,  and  the  colouring  in  general  was  more  carefully  done.  In 
response  to  a growing  demand  for  less  expensive  pieces  smaller  prints 
(hoso-ye)  became  common.  To  give  brilliance  to  the  pigments  a little 
thin  lacquer  (urushi)  was  mixed  with  them,  and,  while  wet,  parts  of 
the  design  were  sprinkled  with  metallic  powder,  which  was  probably 
applied  by  blowing  it  through  a small  bamboo  tube.  These  prints  were 
known  as  urushi-ye,  or  lacquer  prints.  A little  later  the  custom  grew 
up  of  painting  parts  of  the  prints  with  black  lacquer. 

Not  until  the  year  1742  did  the  practice  begin  of  applying  colour  by 
impressions  from  flat  wood  blocks.  Why  the  invention  should  have 
been  so  long  delayed,  and  why,  after  it  was  once  made,  nearly  fourteen 
years  more  should  have  elapsed  before  the  number  of  colour-blocks 
was  increased  beyond  two,  are  questions  to  which  no  certain  answer  is 
yet  forthcoming.  It  is  incredible  that  during  the  forty  years  when 
innumerable  hand-coloured  prints  were  issued  no  one  should  have 
conceived  the  idea  of  printing  the  colour  as  well  as  the  black  outline. 
Without  doubt  some  practical  difficulty  connected  with  the  printing 
stood  in  the  way.  Possibly  the  thing  that  awaited  discovery  was  the 
trick  of  mixing  rice  paste  with  the  colour  to  keep  it  from  running.  Or, 
as  is  more  likely,  it  took  a long  while  to  discover  a practical  method  of 
securing  accurate  register  in  impressions  made  upon  damp  paper 
which  was  liable  to  stretch  or  shrink  during  the  printing  process. 
Whatever  the  problem  may  have  been,  the  honour  of  the  solution  is 
due  to  Okumura  Masanobu.  Being  a publisher  as  well  as  an  artist,  he 
was  no  doubt  alive  to  the  economic  advantage  of  a cheaper  process  and 
to  the  attraction  of  novelty.  Some  years  earlier  he  had  invented  the 
hashira-ye,  or  pillar-print,  and  had  also  put  forth  a series  of  prints  that 
show  a fair  understanding  of  the  laws  of  linear  perspective  to  which  he 
gave  the  name  of  Ukiye.  Being  an  artist  as  well  as  a publisher,  Masa- 
nobu perceived  that  the  change  in  process  called  for  a change  in  the 

C12J 


Catalogue  No.  46 

Actual  size  12  X 16 Y%  inches 


If 


AND  THEIR  DESIGNERS 


style  of  the  designs.  The  very  first  of  the  new  prints,  therefore,  were 
characterized  by  liner  and  more  exquisite  detail  than  was  suitable  for 
the  hand-coloured  editions.  The  colours  used  were  beni  and  a soft  green ; 
and  the  name  beni-ye,  which  had  been  applied  to  the  hand-coloured 
prints  in  which  beni  was  used,  was  also  given  to  them.  A happier  selec- 
tion of  colours  could  not  have  been  made.  By  thinning  the  red  and 
modifying  the  hue  of  the  green  a wide  range  of  effects  was  secured. 
Almost  every  possible  combination  and  variation  was  tried  during  the 
fourteen  or  fifteen  years  that  the  beni-ye  were  in  vogue.  The  world  is 
far  richer  because  of  this  long  period  before  the  number  of  colour-blocks 
was  increased,  since  time  was  afforded  to  work  out  the  decorative  possi- 
bilities resulting  from  the  limitation  to  two  colours  and  black  and  white. 
This  limitation  demanded  fine  skill  and  creative  resource  in  the  inven- 
tion of  pattern  and  the  distribution  of  the  colours  employed.1  The 
results  achieved  were  remarkable.  Until  one  has  seen  them  it  is  im- 
possible to  realize  that  so  much  life  and  vivacity  of  colouring  could 
be  given  by  impressions  from  two  blocks  charged  with  rose  and  green. 

By  many  the  beni-ye  are  regarded  as  the  choicest  products  of  the 
school.  So  charming  were  they  when  first  printed  that  they  speedily 
drove  the  urushi-ye  prints  out  of  the  market,  with  the  exception  of  the 
tall  hashira-ye,  or  pillar  prints,  of  which  hand-coloured  editions  con- 
tinued to  be  produced  for  a year  or  two,  to  satisfy  those  who  still 
wished  paintings  rather  than  prints.  Most  of  the  beni-ye  that  have 
survived  until  our  time  are  very  much  faded.  The  beni  has  quite  gen- 
erally turned  into  a soft  yellow  or  disappeared  altogether.  The  green 
is  more  stable,  but  that  also  has  in  many  instances  become  a warm 
citrine  or  russet.  Extremely  rare  are  the  specimens  in  which  the  orig- 
inal colour  has  not  suffered  material  modification. 

From  the  testimony  of  the  prints  themselves  it  appears  probable  that 
very  soon  after  Okumura  Masanobu  issued  the  first  prints  in  beni  and 
green,  similar  prints  were  put  forth  by  Nishimura  Shigenaga,  Ishikawa 

1The  word  “limitation”  in  this  connection  is  to  be  understood  in  a relative  sense.  Actually 
the  resources  at  the  artists’  command  were  not  insignificant.  Upon  any  one  of  the  four 
possible  grounds— black,  white,  red,  and  green — there  might  be  a pattern  in  either  one,  or  any 
two,  or  all  three  of  the  other  colours,  and  the  possible  combinations  of  surfaces  so  patterned 
are  several  hundred  in  number.  If  variations  in  the  patterns  and  differences  in  tone-values 
resulting  therefrom  be  also  taken  into  consideration,  the  number  is  vastly  increased. 

fi3: 


JAPANESE  COLOUR-PRINTS 

Toyonobu,  Torii  Shiro  (otherwise  Kiyonobu  the  second),  and  all  the 
Yedo  print-designers,  among  them  the  veteran  Torii  Kiyomasu.  None 
of  these  men  seems  to  have  attempted  any  marked  departure  from  the 
type  established  by  Okumura.  About  1755,  however,  a group  of  young 
men  appeared  upon  the  scene,  who  were  fired  with  zeal  for  further 
experiments.  The  leaders  were  Torii  Kiyomitsu,  Kitao  Shigemasa,  and 
Suzuki  Harunobu.  Kiyomitsu  began  by  trying  novel  colour  schemes 
such  as  two  tones  of  beni  instead  of  beni  and  green.  Then  he  tried  a 
third  colour-block.  After  this  new  developments  followed  in  rapid 
succession.  The  variety  and  range  of  the  colour  schemes  broadened 
almost  from  day  to  day.  At  first  the  wider  resources  proved  an  embar- 
rassment, but  the  mastery  attained  in  dealing  with  the  simpler  means 
soon  enabled  the  artists  to  take  advantage  of  them.  Invention  was 
stimulated.  In  1764  a printer  named  Kinroku  discovered  a method  by 
which  printing  in  colours  from  many  blocks  became  possible.  We  can 
only  guess  at  the  nature  of  the  difficulty  that  was  surmounted;  but  as 
it  is  known  that  the  printing  was  usually  done  upon  dampened  paper, 
it  is  evident  that  the  stretching  or  shrinking  of  the  sheets,  to  which  I 
have  already  referred,  must  have  proved  extremely  troublesome,  and 
that  every  additional  block  must  have  multiplied  the  liability  to  defec- 
tive register.  It  is  reasonably  safe  to  assume,  therefore,  that  to  find 
some  means  of  overcoming  this  was  the  problem  which  remained  un- 
solved for  so  many  years. 

The  name  of  Suzuki  Harunobu  is  familiar  to  every  admirer  of  Jap- 
anese prints.  It  is  in  large  measure  to  his  genius  that  the  development 
of  full-colour  printing  is  due.  He  was  not  only  the  first  artist  to  make 
use  of  the  new  process,  but  he  took  advantage  of  it  to  bring  out  prints 
of  a novel  type.  Very  dainty  and  graceful  these  were,  and  in  the  poetic 
allusions  or  quiet  humour  with  which  they  were  charged,  and  in  the 
quality  of  the  brush-strokes  with  which  the  drawings  were  executed, 
they  made  a direct  appeal  to  men  of  taste.  Success  was  instantaneous. 
Ry  the  year  1765  Harunobu  had  come  to  the  front  and  distanced  all 
competitors  for  popular  favour.  The  serenity  and  compelling  charm 
of  his  compositions  brought  him  wide  fame.  Realizing  the  possibilities 
that  now  lay  before  him,  he  proudly  exclaimed,  “Why  should  I degrade 

£14  3 


HARUNOBU 

\oung  Woman  before  Torii 


Catalogue  No.  57 

Actual  size  11  >4  X inches 


AND  THEIR  DESIGNERS 


myself  by  the  delineation  of  actors?”  His  ambition,  he  said,  was  to 
become  “the  true  successor  of  the  painters  in  the  department  of  print- 
ing”; that  is  to  say,  to  design  prints  that  should  be  worthy  substitutes 
for  paintings.  Instead  of  restricting  himself  to  a few  primary  or  secon- 
dary hues  and  the  variations  resulting  from  their  superposition,  he 
mixed  his  colours  to  get  the  precise  tint  desired,  and  he  used  as  many 
colour-blocks  as  were  needed  for  the  effects  at  which  he  aimed.  The 
Yedo-ye,  or  Yedo  pictures,  as  the  prints  had  been  called  from  the  fact 
that  they  were  produced  only  at  the  eastern  capital,  were  now  denomi- 
nated nishiki-ye,  or  brocade  pictures,  from  the  number  of  colours 
woven  together  in  them.  To  the  printing  itself,  the  charging  of  the 
blocks  with  colour,  the  character  and  quality  of  the  pigments  and  of 
the  paper  used,  Harunobu  gave  careful  attention,  and  these  things  were 
greatly  improved  as  a result  of  his  experiments. 

Under  his  leadership  the  art  now  entered  upon  the  period  of  its  great- 
est triumphs.  In  the  eager  search  for  novel  subjects  scarcely  anything 
was  left  untouched.  History,  mythology,  and  romance,  the  number- 
less fetes  and  merrymakings  of  the  people  and  the  daily  routine  of 
their  lives,  representations  of  celebrated  poets  and  heroes,  scenes  from 
the  drama,  portraits  of  popular  actors  and  courtesans,  the  revels  of  the 
Yoshiwara,  animals  and  plants,  familiar  scenes  and  famous  land- 
scapes, furnished  motives  for  almost  endless  broadsheets  and  book 
illustrations.  No  other  art  was  ever  more  crowded  with  human  interest. 

The  forward  movement  in  print-designing  at  this  epoch  was  helped 
on  by  a number  of  highly  gifted  artists  who  seem  to  have  worked  to- 
gether to  some  extent.  Katsukawa  Shunsho,  who  took  up  the  theatrical 
branch  of  print-designing  that  Harunobu  scorned,  is  one  of  the  most 
distinguished  masters  of  the  Ukiyoe  school.  He  was  a designer  of 
marked  power,  a colourist  of  the  first  rank.  His  works  are  not  yet  ap- 
preciated as  they  should  be,  but  the  finest  of  them  yield  pure  aesthetic 
delight  of  most  exalted  quality.  Kitao  Shigemasa,  Ippitsusai  Buncho, 
and  Isoda  Koryusai  also  rank  among  the  first-rate  men  of  this  period. 
In  the  contest  for  popular  favour  during  the  ten  years  following  the 
death  of  Harunobu,  which  took  place  in  the  summer  of  1770,  it  has 
been  said  that  the  guerdon  rested  upon  Koryusai,  but  that  is  a mistake, 

[151] 


JAPANESE  COLOUR-PRINTS 


for  both  Shunsho  and  Shigemasa  stood  higher  in  the  estimation  of 
qualified  judges.  All,  however,  were  surpassed  a few  years  later  by 
Kiyonaga,  the  last  great  artist  of  the  Torii  line  and  the  culminating 
figure  in  the  history  of  the  Popular  School.  He  conquered  by  the 
rugged  strength  and  marvellous  quality  of  his  brush-strokes,  by  the 
richness  of  his  colouring  and  the  ripe  mastery  he  displayed  over  all 
the  resources  of  his  craft.  But  also  he  created  a new  type  of  design — 
that  which  found  expression  in  the  great  diptychs  and  triptychs  that 
stand  as  the  triumphs  of  colour-printing.  At  the  height  of  his  power 
his  influence  over  his  contemporaries  was  so  great  that,  without  excep- 
tion, the  younger  men  among  them  copied  his  style  as  closely  as  they 
could. 

When  Kiyonaga,  about  1793,  stopped  designing  prints,  the  decadence 
had  already  set  in.  The  decade  that  followed  was  a period  of  rapid 
deterioration,  with  Utamaro  as  its  particular  evil  genius.  Yet  many 
of  the  most  splendid  of  the  prints  were  produced  in  that  decade.  Where 
shall  we  look  for  anything  finer  than  Eishi’s  wonderful  series  with  the 
chocolate  background,  or  his  triptychs  of  the  Prince  Genji  series? 
Where  shall  we  find  anything  to  equal  the  brilliant  characterization  of 
Sharaku’s  actor  portraits?  Where  else  shall  we  turn  for  such  mar- 
vellously facile  rhythmic  line,  such  swift,  vital  handling  as  that  which 
made  Utamaro’s  masterpieces  the  despair  of  his  many  imitators?  To- 
yokuni  also  designed  many  fine  prints;  but  as  he  was  a man  of  less 
force  than  the  others  I have  named,  he  fell  faster  and  farther  than  they 
did,  and  fewer  of  his  works  command  our  admiration. 

I have  left  myself  little  time  to  speak  of  two  eminent  artists,  both 
of  them  world-renowned,  who  by  their  genius  made  the  latter  years  of 
the  Ukiyoe  school  as  notable  in  their  way  as  any  in  its  entire  history. 
Either  Hokusai  or  Hiroshige  might  well  engage  our  attention  for  an 
entire  evening.  Both  were  extraordinarily  prolific;  Hokusai  was  the 
more  versatile  and  has  the  wider  reputation.  Both  are  among  the  great- 
est landscape  artists  the  world  has  ever  known.  Their  numerous  prints 
of  landscapes  are  a revelation  of  the  possibilities  of  originality  in  com- 
position and  variety  of  interest  in  this  field.  Unless  one  has  studied 
these  prints  in  fine  examples,  it  is  impossible  to  realize  how  great  is  their 

[16] 


HARUNOBU 

The  Sleeping  Elder  Sister 


Catalogue  No.  70 
Actual  size  11#  X 8 inches 


AND  THEIR  DESIGNERS 


merit.  This  is  true  of  all  the  prints,  but  particularly  true  of  Hiroshige’s. 
Between  the  best  impressions  and  the  very  good  ones  the  difference  is 
really  astonishing.  But  the  best  are  so  extremely  rare  as  to  make  it 
probable  that  because  of  the  difficulty  and  the  cost  of  printing,  very 
few  of  them  were  issued — the  publishers  finding  cheaper  editions  more 
profitable. 

Though  classed  as  Ukiyoe  artists,  Hokusai  and  Hiroshige  really  rep- 
resent a separate  movement  which  undoubtedly  would  have  crystal- 
lized into  a distinct  school  had  worthy  followers  arisen  to  carry  it  for- 
ward, had  the  times  been  different,  and,  last  but  not  least,  had  the 
genius  of  the  two  masters  been  less  transcendent. 

In  this  sketch  of  the  history  of  the  art  of  Ukiyoe  colour-printing  only 
the  more  salient  features  have  been  touched  upon.  Of  the  prints  them- 
selves it  is  not  too  much  to  say  that  the  finest  of  them  are  the  most  beau- 
tiful specimens  of  printing  that  have  been  done  in  any  land  at  any  time. 

Yet  none  but  the  most  primitive  methods — or  what  from  our  point 
of  view  may  seem  such — were  employed.  The  most  wonderful  among 
all  the  prints  is  but  a “rubbing”  or  impression  taken  by  hand  from 
wood  blocks.  The  artist  having  drawn  the  design  with  the  point  of  a 
brush  in  outline  upon  thin  paper,  it  was  handed  over  to  the  engraver, 
who  began  his  part  of  the  work  by  pasting  the  design  face  downward 
upon  a flat  block  of  wood,  usually  cherry,  sawn  plankwise  as  in  the 
case  of  the  blocks  used  by  European  wood-engravers  in  the  time  of 
Diirer.  The  paper  was  then  scraped  at  the  back  until  the  design  showed 
through  distinctly  in  every  part.  Next,  the  wood  was  carefully  cut 
away,  leaving  the  lines  in  relief,  care  being  taken  to  preserve  faithfully 
every  feature  of  the  brush-strokes  with  which  the  drawing  was  exe- 
cuted. A number  of  impressions  were  then  taken  in  Chinese  ink  from 
this  “key  block”  and  handed  to  the  artist  to  fill  in  with  colour.  This 
ingenious  plan,  which  is  manifestly  an  outgrowth  of  the  early  custom 
of  colouring  the  ink  prints  (sumi-ye)  by  hand,  and  which  perhaps 
would  never  have  been  thought  of  had  not  the  colour  itself  been  an 
afterthought,  enabled  the  artist  to  try  many  experiments  in  colour  ar- 
rangement with  a minimum  amount  of  labour.  The  colour  scheme 
and  ornamentation  of  the  surfaces  having  been  determined,  the  en- 

nn 


JAPANESE  COLOUR-PRINTS 


graver  made  as  many  subsidiary  blocks 1 as  were  required,  the  parts 
meant  to  take  the  colour  being  left  raised  and  the  rest  cut  away.  Accu- 
rate register  was  secured  by  the  simplest  of  devices.  A right-angled 
mark  engraved  at  the  lower  right-hand  corner  of  the  original  block, 
and  a straight  mark  in  exact  line  with  its  lower  arm  at  the  left,  were 
repeated  upon  each  subsequent  block,  and,  in  printing,  the  sheets  were 
laid  down  so  that  their  lower  and  right-hand  edges  corresponded  with 
the  marks  so  made.  The  defective  register  which  may  be  observed  in 
many  prints  was  sometimes  caused  by  unequal  shrinking  or  swelling 
of  the  blocks.  In  consequence  of  this,  late  impressions  are  often  in- 
ferior to  the  early  ones,  even  though  printed  with  the  same  care,  and 
from  blocks  that  had  worn  very  little.  The  alignment  will  usually 
be  found  to  be  exact  upon  one  side  of  the  print,  but  to  get  further  out 
of  register  as  the  other  side  is  approached. 

The  printing  was  done  on  moist  paper  with  Chinese  ink  and  colour 
applied  to  the  blocks  with  flat  brushes.  A little  rice  paste  was  usually 
mixed  with  the  pigments  to  keep  them  from  running  and  to  increase 
their  brightness.  Sometimes  dry  rice  flour  was  dusted  over  the  blocks 
after  they  were  charged.  To  this  method  of  charging  the  blocks  much 
of  the  beauty  of  the  result  may  be  attributed.  The  colour  could  be 
modified,  graded,  or  changed  at  will,  the  blocks  covered  entirely  or 
partially.  Hard,  mechanical  accuracy  was  avoided.  Impressions  dif- 
fered even  when  the  printer’s  aim  was  uniformity.  Sometimes,  in  ink- 
ing the  “key  block,”  which  was  usually  the  last  impressed,  some  of  the 
lines  would  fail  to  receive  the  pigment,  or  would  be  overcharged.  This 
was  especially  liable  to  happen  when  the  blocks  were  worn  and  the 
edges  of  the  lines  became  rounded.  A little  more  or  a little  less  pigment 
sometimes  made  a decided  difference  in  the  tone  of  the  print,  and,  it 
may  be  noted,  has  not  infrequently  determined  the  nature  and  the 
extent  of  the  discolouration  wrought  by  time. 

In  printing,  a sheet  of  paper  was  laid  upon  the  block  and  the  printer 
rubbed  off  the  impression,  using  for  the  purpose  a kind  of  pad  called 

frequently  a colour-block  was  made  to  serve  for  two  colours  printed  at  a single  impression. 
This  was  possible  only  when  certain  parts  could  readily  be  charged  with  one  pigment,  and 
other  parts  with  another,  without  much  likelihood  of  mistake  or  interference.  Resulting 
mistakes,  however,  were  not  uncommon. 

[18] 


HARUNOBU 

The  Sleeping  Elder  Sister 


Catalogue  No.  71 

Actual  size  10%  X 7%  inches 


AND  THEIR  DESIGNERS 


a baren.  This  was  applied  to  the  back  of  the  paper  and  manipulated 
with  a circular  movement  of  the  hand.  By  varying  the  dampness  of 
the  paper  and  the  degree  of  pressure  the  colour  could  be  forced  deep 
into  the  paper,  or  left  upon  the  outer  fibres  only,  so  that  the  whiteness 
of  those  below  the  surface  would  shine  through,  giving  the  peculiar 
effect  of  light  which  is  seen  at  its  best  in  some  of  the  surimono  (prints 
designed  for  distribution  at  New  Year’s  or  other  particular  occasions) 
by  Hokusai  and  his  contemporaries.  Uninked  blocks  were  used  for 
embossing  portions  of  the  designs.  The  skill  of  the  printer  was  a large 
factor  in  producing  the  best  results.  Even  the  brilliancy  of  the  colour 
resulted  largely  from  his  manipulation  of  the  pigments  and  various 
little  tricks  in  their  application.  The  first  impressions  were  not  the 
best,  some  forty  or  fifty  having  to  be  pulled  before  the  block  would 
take  the  colour  properly.  Many  kinds  of  paper  were  used.  For  the 
best  of  the  old  prints  it  was  thick,  spongy  in  texture,  and  of  an  almost 
ivory  tone.  The  finest  specimens  were  printed  under  the  direct  per- 
sonal supervision  of  the  artists  who  designed  them.  Every  detail  was 
looked  after  with  the  utmost  care.  No  pains  were  spared  in  mixing 
the  tints,  in  charging  the  blocks,  in  laying  on  the  paper  so  as  to  get  the 
best  possible  impressions.  Experiments  were  often  tried  by  varying 
the  colour  schemes.  Prints  of  important  series,  as,  for  example,  Ho- 
kusai’s famous  “Thirty-six  Views  of  Fuji,”  are  met  with  in  widely 
divergent  colourings. 

The  pigments  most  frequently  used  were  comparatively  few,  and 
different  lots  of  the  same  pigment  seem  to  have  been  far  from  uniform 
in  hue.  As  to  this  and  some  other  points  upon  which  we  should  be  glad 
to  have  light,  no  very  certain  information  exists.  We  do  not  know  how 
soon  some  of  the  colours  began  to  fade.  Internal  evidence  indicates 
that  in  some  instances  the  change  took  place  within  a comparatively 
short  time,  as  in  the  case  of  the  lovely  blue  used  by  Harunobu  and 
Shunsho  chiefly  as  a colour  for  sky  and  water.  It  appears  to  have  been 
a compound  tint  formed  of  blue  mixed  with  some  other  colour  to 
modify  its  intensity.  In  the  change  which  followed — possibly  a chemi- 
cal one — the  blue  disappeared  in  whole  or  in  part,  leaving  in  its  stead 
a buff  hue  having  peculiar  depth  and  a soft,  velvety  texture.  To  our 

[19] 


JAPANESE  COLOUR-PRINTS 

eyes  the  modified  colour  is  often  far  more  beautiful  than  the  original, 
but  the  variation,  it  may  safely  be  asserted,  was  not  desired  by  the 
artist. 

The  quality  of  the  colour  wrought  by  these  changes  explains  why  it 
is  not  possible  to-day  to  reproduce  the  prints  successfully.  The  print- 
ing process  is  still  in  use,  and,  as  the  plates  in  such  publications  as 
“Kokka”  attest,  very  splendid  results  are  still  yielded  by  it.  But  some 
of  the  old  pigments  cannot  now  be  obtained;  and  if  they  could  be,  we 
should  still  have  to  wait  long  years  for  time  to  mellow  the  prints  made 
with  them.  Indigo  can  be  had,  but  it  is  not  the  same  indigo  and  its 
colour  is  not  quite  like  the  old,  which  was  extracted  from  blue  cloth 
imported  from  China.  Beni  can  be  made,  but  the  secret  of  the  blue 
added  to  it  to  produce  the  divine  violet  seen  in  many  of  the  prints  has 
been  lost,  as  has  that  of  the  precious  moss-green  used  by  Utamaro. 
Many  reproductions  have  been  made  during  the  last  twenty-five  years, 
and  some  of  them  are  extremely  clever;  but  the  printing  lacks  depth, 
and  when  placed  beside  the  old  works  they  appear  dull  and  lifeless. 

Colour-prints  were  made  for  many  purposes.  To  some  extent  they 
were  used  as  advertisements.  Incidentally  they  served  as  fashion 
plates.  Some  were  regularly  published  and  sold  in  shops.  Others  were 
designed  expressly  upon  orders  from  patrons,  to  whom  the  entire  edi- 
tion— sometimes  a very  small  one — was  delivered.  The  number  struck 
from  any  block,  or  set  of  blocks,  varied  widely.  Of  the  more  popular 
prints  many  editions  were  printed,  each  one,  as  might  be  expected, 
inferior  to  those  that  preceded  it.  Not  infrequently  the  Yedo  publishers 
removed  from  their  out-of-date  blocks  the  marks  showing  their  im- 
print, and  sold  them  to  publishers  in  Osaka  and  Nagoya,  by  whom  poor 
and  cheap  editions  were  issued.  Eiraku-ya  of  Nagoya,  in  particular, 
is  said  to  have  bought  many  old  blocks,  some  of  which  were  revamped 
in  various  ways  before  being  reprinted. 

In  a number  of  instances,  when  blocks  had  worn  out  or  had  been 
accidentally  destroyed  in  the  fires  by  which  Yedo  was  ravaged,  the 
artists  were  called  upon  to  make  new  drawings  of  the  same  subjects. 
Usually,  in  such  cases,  the  second  design  differed  very  little  from  the 
first,  save  in  such  details  as  the  patterns  upon  the  garments  of  the  fig- 

[203 


HARUNOBU 

The  Sleeping  Elder  Sister 


Catalogue  No.  72 
Actual  size  11X8  inches 


AND  THEIR  DESIGNERS 


ures  and  the  styles  of  hair  arrangement,  which  invariably  reflected  the 
current  mode.  Kiyonaga’s  “Iris  Garden”  and  his  well-known  triptych 
“Ushiwaka  Serenading  Jorurihime”  are  notable  examples  of  this  prac- 
tice. Two  designs  of  each  of  these  were  issued,  the  intervals  between 
the  appearance  of  the  first  and  second  being,  in  each  instance,  about 
three  or  four  years.  For  the  later  editions  of  many  of  the  prints  de- 
signed by  Harunobu  changes  were  made  in  the  blocks,  and  the  number 
was  sometimes  increased  and  sometimes  decreased.  After  his  death 
re-engravings  of  a number  of  his  prints  appear  to  have  been  made,  as 
well  as  forged  works  in  imitation  of  his  style  to  which  his  name  was 
attached. 

Most  of  the  prints  were  sold  at  the  time  of  publication  for  a few  sen. 
The  finer  ones  brought  relatively  higher  prices,  and  such  prints  as  the 
great  triptychs  and  still  larger  compositions  by  Kiyonaga,  Eishi,  Toyo- 
kuni,  Utamaro,  and  other  leading  artists  could  never  have  been  very 
cheap.  In  general,  however,  the  price  was  small  and  they  were  re- 
garded as  ephemeral  things.  Many  were  used  to  ornament  the  small 
screens  that  served  to  protect  kitchen  fires  from  the  wind,  and  in  this 
use  were  inevitably  soiled  and  browned  by  smoke.  Others,  made  into 
kakemono  or  mounted  upon  the  sliding  partitions  of  the  houses,  per- 
ished in  the  fires  by  which  Japanese  cities  have  been  devastated;  or,  if 
in  houses  that  chanced  safely  to  run  the  gauntlet  of  fires,  typhoons, 
cloudbursts,  and  other  mishaps,  their  colours  faded  and  their  surfaces 
were  rubbed  until  little  more  than  dim  outlines  were  left.  These  lost 
prints  include  a very  large  proportion  of  those  that  were  most  beauti- 
ful, and  especially  of  those  having  inoffensive  subjects. 

Fortunately,  though  the  upper  classes  did  not  consider  the  prints  as 
works  of  art,  that  did  not  prevent  them  from  buying  them  for  the  en- 
tertainment they  afforded.  The  samurai,  though  they  considered  it  de- 
grading to  take  part  in  the  amusements  of  the  lower  classes  and 
affected  to  despise  the  vulgarity  of  the  theatre,  sometimes  attended 
the  performances  in  disguise.  And  when  they  returned  to  their  home 
provinces  with  their  feudal  lords  after  the  six  months  of  every  year 
spent  in  the  capital,  they  usually  carried  with  them  large  quantities  of 
prints.  Country  people  visiting  Yedo  rarely  returned  without  taking 

C213 


JAPANESE  COLOUR-PRINTS 

many  of  these  cheap  souvenirs  of  the  city  to  distribute  among  their 
neighbours.  Of  course  many  were  destroyed,  but  the  Japanese  have 
always  been  accustomed  to  take  care  of  their  possessions,  and  so  many 
thousands  of  prints  were  neatly  packed  away  in  boxes  and  placed  in 
the  kuras,  or  fireproof  storehouses.  There  they  were  often  spoiled  by 
mildew,  the  dread  foe  of  the  Japanese  housewife,  and  eaten  by  insects. 
Those  pasted  in  albums,  as  were  many  of  the  noted  series  by  Hokusai 
and  Hiroshige,  fared  better  than  the  loose  ones. 

Thus  it  has  come  about  that  in  spite  of  the  enormous  number 
printed,  really  choice  specimens  are  very  rare.  Of  many  of  the  most 
important  only  two  or  three  copies  in  good  condition  are  known.  Even 
at  the  time  of  their  issue  the  number  of  those  in  what  may  be  called 
the  “proof”  state  could  not  have  been  large.  The  best  printing,  as  has 
already  been  pointed  out,  was  not  only  difficult  and  relatively  expen- 
sive— perhaps  prohibitively  expensive  in  many  instances  except  for  a 
small  number  of  impressions — but  when  the  blocks  had  worn  so  that 
the  edges  of  the  finest  lines  had  lost  their  sharpness,  it  was  quite  impos- 
sible. Collections  of  prints  were  rarely  made.  Literary  men  often 
saved  such  as  were  inscribed  with  odes  of  especial  merit,  or  had  recon- 
dite meanings  that  appealed  to  them,  and  to  their  care  we  are  indebted 
for  the  preservation  of  the  majority  of  those  that  have  survived  in 
perfect  or  nearly  perfect  condition. 

For  those  who  have  learned  the  elements  of  their  language  the  charm 
of  the  prints  is  very  great.  I should  perhaps  say  the  charm  of  some  of 
the  prints  is  very  great;  for,  as  we  learn  what  we  ought  to  admire,  we 
learn  to  discriminate,  at  first  between  the  works  of  the  different  artists, 
then  between  different  works  by  the  same  artist,  and  finally  between 
different  copies  of  the  same  work.  The  truth  is  that  the  prints  are  only 
in  a remote  sense  to  be  spoken  of  as  reproductions.  Each  impression 
is  more  or  less  an  individual  work  of  art;  the  difference  in  quality  be- 
tween one  and  another  is  often  astonishingly  wide. 

In  conclusion  it  may  be  well  to  specify  briefly  some  of  the  qualities 
in  the  prints  that  appeal  to  people  of  taste.  In  the  first  place,  there  is 
the  compelling  charm  of  colour.  Equally  notable  are  excellence  of 
composition,  grace,  beauty,  and  sweep  of  line,  distinctive  character, 

C22H 


HARUNOBU 


Woman  reading  Letter 


Catalogue  No.  80 

Actual  size  26%  X 4%  inches 


AND  THEIR  DESIGNERS 


daringness  of  conception,  and  perfect  balance  of  both  line  and  mass. 
Collectively  the  prints  furnish  the  clearest  exemplification  of  the  basic 
principles  of  design  that  the  world  has  to  offer.  Nowhere  else  can  we 
find  so  much  accomplished  with  simple  means.  Technically,  also,  they 
fulfil  every  requirement.  Considered  merely  as  wood-engravings,  they 
are  of  the  first  order  of  excellence.  Though  the  drawing  is  seldom 
scientifically  accurate,  it  is,  nevertheless,  of  exquisite  refinement  and 
subtlety.  In  short,  the  best  prints  are  creative  works  of  very  high  order 
which  amply  justify  our  admiration  because  of  their  intrinsic  merit. 


KORYUSAI 

Musume  leaping  from  Temple  Balcony 


Catalogue  No.  86 
Actual  size  21l/2  X 4 inches 


THE  JAPAN  SOCIETY  OF  NEW  YORK 


CATALOGUE 

OF  A 

LOAN  COLLECTION 

OF 

JAPANESE  COLOUR-PRINTS 


FIFTH  AVENUE  BUILDING 
APRIL  19  TO  MAY  19,  1911 


SHUNSHO 

Woman  in  Red 


Catalogue  No.  101 
Actual  size  28  X b'/z  inches 


INTRODUCTION 


THE  leading  masters  of  the  Ukiyoe  school  were  a group  of  very 
great  artists.  The  names  of  Kiyonaga,  Harunobu,  Okumura 
Masanobu,  Utamaro,  Hokusai,  and  Hiroshige  belong  in  the 
category  of  those  whose  fame  is  world-wide. 

The  finest  of  the  colour-prints  designed  by  these  men  and  their  fel- 
low-artists are  masterpieces  of  rare  distinction.  This  does  not  mean 
that  all  of  their  works  should  be  so  classed.  The  method  by  which  the 
prints  were  produced  enabled  the  artists  to  turn  them  out  rapidly,  and 
many  were  made  that  were  trivial  in  character.  They  served  almost 
as  many  purposes  in  their  time  as  engravings,  etchings,  lithographs, 
and  the  photographic  process  reproductions  do  with  us  to-day.  Natu- 
rally they  varied  widely  in  merit  and  in  quality.  Many  have  been  pre- 
served, but  the  important  prints  by  the  greater  artists  are  unfortu- 
nately very  rare;  few  of  them  have  survived  the  vicissitudes  of  time, 
and  fewer  still  in  good  condition. 

The  inception  of  the  Ukiyoe  school  dates  back  to  the  early  years  of 
the  seventeenth  century,  when  a painter  named  Iwasa  Matahei,  depart- 
ing from  the  traditional  subjects  of  the  painters  of  the  classic  schools, 
made  pictures  of  dancing-girls  and  scenes  of  every-day  life.  The  first 
prints  were  made  about  1660  by  Hishikawa  Moronobu  and  were  in 
simple  black  outline.  They  were  sometimes  coloured  by  hand  with  a 
few  touches  of  colour  roughly  laid  on,  probably  by  the  publisher’s 
assistants. 

In  the  early  years  of  the  seventeenth  century  a style  of  colouring 
known  as  tan-ye  (from  the  predominant  use  of  a red-lead  pigment 
known  as  tan ) came  into  vogue.  A little  later  prints  were  sold  with 
more  elaborate  hand-colouring.  Lacquer  was  mixed  with  the  pigments 
to  give  them  brilliancy,  and  the  prints  were  known  as  urushi-ye,  or 
lacquer  prints.  In  or  about  the  year  1742  Okumura  Masanobu  began 


BUNCHO 

Actor  as  Woman  talking  to  Men 


Catalogue  No.  102 

Actual  size  12#  X 1%  inches 


CATALOGUE 


HISHIKAWA  MORONOBU 

Moronobu,  who  was  born  probably  in  1625  and  died  in  1695,  was  the 
first  important  Japanese  artist  to  design  prints.  As  a painter  he  is 
highly  renowned.  He  illustrated  many  books  and  made  a considerable 
number  of  single-sheet  prints,  which  were  all  either  in  plain  black  or 
coloured  by  hand.  His  works  are  now  very  rare. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased.1 

1 Large  sumi-ye  ( ink  print).  Matsukaze-Murasame;  a nobleman 
and  two  ladies  at  the  seashore  watching  two  women  dipping 
salt  water  in  buckets. 

2 Sumi-ye.  A man  and  a woman  seated  on  the  floor  of  a room. 

3 Sumi-ye.  Woman  reading  from  a book  to  a man  reclining  on 
the  floor  by  her  side.  Near  them  a maid-servant  and  utensils 
containing  refreshments. 

Lent  by  a Collector. 

4 Sumi-ye.  Scene  in  the  Yoshiwara. 

TORII  KIYONOBU 

Founder  of  the  Torii  line  and  one  of  the  leading  artists  of  the  Ukiyoe 
school.  Inventor  of  the  tan-ye,  or  prints  coloured  by  hand  with  red 
lead  (Japanese  tan).  He  was  born  in  1664  and  died  on  August  22, 1729. 
His  style  of  drawing  was  characterized  by  great  boldness  and  vigour. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

5 Large  tan-ye.  The  actor  Dekijima  Hanya  as  a woman  seated 
upon  a sakura  tree  in  bloom. 

1 All  the  prints  described  in  this  catalogue  as  lent  by  Estate  of  Francis  Lathrop,  Deceased, 
have  been  acquired  by  the  Metropolitan  Museum  of  Art. 

csin 


JAPANESE  COLOUR-PRINTS 

6 Small  tan-ye.  The  actor  Ikushima  Daikichi  as  a woman  holding 
two  small  dogs. 

7 Small  tan-ye.  The  actor  Kamimura  Kichisaburo  as  a dancing- 
girl. 

8 Large  hand-coloured  print.  The  actor  Ikushima  Daikichi  as  an 
oiran  on  parade,  followed  by  Otani  Hiroji  as  a servant  holding 
an  umbrella  over  her. 

9 Tall  hand-coloured  print.  The  actor  Rando  Hikosaburo. 

Lent  by  Samuel  Isham. 

10  Urushi-ye.  Ichikawa  Monnosuke  as  a strolling  player  carrying 
a monkey  on  his  back. 

Lent  by  Howard  Mansfield. 

11  Urushi-ye.  The  elopement  of  Yaoya  Hanbei  and  O-Chiya. 

Lent  by  a Collector. 

12  Urushi-ye.  A dancing-girl. 


TORII  KIYOMASU 

Eldest  son  of  Kiyonobu,  whom  he  succeeded  as  the  head  of  the  Torii 
line.  His  work  closely  resembles  that  of  his  father.  He  was  born  about 
1685  and  died  on  January  2, 1764. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

13  Large  sumi-ye.  An  actors’  boating  party  on  the  Sumidagawa. 

14  Large  tan-ye.  The  actors  Yoshizawa  Ayame  and  Kanto  Koroku. 

15  Large  tan-ye.  The  actors  Kanto  Koroku  and  Ikushima  Daikichi. 

16  Large  beni-ye.  Ichikawa  Danjuro  as  an  enraged  warrior. 

17  Beni-ye.  Onoe  Kikugoro  in  a female  role. 

18  Beni-ye.  Scene  from  a drama.  The  actors  Tomazawa  Saijiro 
(on  horseback),  Otani  Hiroji,  and  Segawa  Kikunojo.  The  beni 
has  turned  to  a low-toned  yellow. 

[323 


KIYONAGA 


Man  and  two  Women  approaching  Temple 


Catalogue  No.  131 
Actual  size  14  X 9'A  inches 


AND  THEIR  DESIGNERS 


Lent  by  Howard  Mansfield. 

19  Urushi-ye.  Scene  from  a drama.  Otani  Oniji  (on  horseback) 
threatening  Sannogawa  Ichimatsu  in  the  role  of  a woman  who 
has  seized  his  bridle  rein. 

20  Beni-ye.  Scene  from  a drama.  Sawamura  Sojuro  as  Sasaki  no 
Saburo  and  Nakamura  Tomijuro  as  Mago  no  Koroku. 

FURUYAMA  MOROMASA 

Pupil,  and  perhaps  the  son,  of  Moronobu.  He  devoted  himself  chiefly 
to  painting,  but  designed  a few  prints,  most  of  which  are  ukiye,  or  per- 
spective pictures,  in  the  style  of  Okumura  Masanobu. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

21  Large  hand-coloured  ukiye,  or  perspective  print.  A game  of 
ken  in  a room  in  a nobleman’s  house. 

OKUMURA  MASANOBU 

One  of  the  most  eminent  of  the  Ukiyoe  artists.  His  drawings  were 
greatly  admired  for  their  rare  combination  of  force  and  refinement, 
and  he  exercised  wide  influence  over  his  contemporaries  and  succes- 
sors to  the  end  of  the  eighteenth  century.  He  was  the  first  artist  to  use 
blocks  from  which  prints  were  coloured  in  flat  tints.  These  were  printed 
in  the  red  known  as  beni,  green,  and  black,  and  were  known  as  beni-ye. 
He  was  also  the  first  artist  to  make  the  tall,  narrow  pillar  prints  (ha- 
shira-ye),  and  was  the  inventor  of  the  perspective  prints  which  he 
called  ukiye.  His  true  name  was  Okumura  Genpachi,  and  he  was  com- 
monly known  as  lionya  (bookseller)  Genpachi,  from  the  fact  that  he 
was  the  proprietor  of  a wholesale  and  retail  book  and  print  shop  at  the 
sign  of  the  “red  gourd”  in  Tori-shio  cho,  Yedo. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

22  Large  sumi-ye.  Woman  seated  by  a writing-table,  reading  a 
book. 

23  Urushi-ye.  Bando  Hikosaburo  as  a warrior  resisting  the  open- 
ing of  a castle  door. 

24  Tall  beni-ye.  A geisha  playing  upon  a samisen. 

[33  4 


JAPANESE  COLOUR-PRINTS 
Lent  by  Hamilton  Easter  Field. 

25  Large  sumi-ye.  A woman  with  a pet  cat  watching  a man  dip 
water  from  a chozubachi. 

Lent  by  a Collector. 

26  Large  beni-ye.  Segawa  Kikunojo  as  an  oiran  lighting  her  pipe 
at  a hibachi  in  the  hands  of  her  kamuro,  and  Sannogawa  Ichi- 
matsu  as  a man  holding  an  umbrella  over  her. 

27  Undivided  beni-ye  triptych.  Street  scene.  A boy  kneeling  to 
put  on  a woman’s  geta;  a man  playing  upon  a shakuhachi;  and 
another  man  carrjdng  an  umbrella. 

28  Undivided  triptych.  Three  women  carrying  umbrellas. 

OKUMURA  TOSHINOBU 

Toshinobu,  the  son  of  Masanobu,  was  an  artist  of  decided  talent  who 
died  young.  His  known  works,  which  resemble  those  of  his  father,  are 
all  urushi-ye,  and  were  designed  about  1730-1736. 

Lent  by  a Collector. 

29  Ichimura  Uzaemon  as  a dancing-girl. 

30  Woman  dressing. 

31  Sanjo  Kentaro  in  a female  role. 

TSUNEKAWA  SHIGENOBU 

An  early  Ukiyoe  artist  of  whom  little  is  known.  His  prints  are  ex- 
tremely rare. 

Lent  by  a Collector. 

32  Urushi-ye.  Arashi  Wakano  in  the  role  of  Shida  no  Kotaro. 

NISHIMURA  SHIGENAGA 

Son  of  Shigenobu.  Born  in  1697  and  died  in  1756.  An  artist  of  ability 
who  exercised  marked  influence  upon  the  development  of  the  school. 
His  prints  are  very  uneven  in  quality. 

[841] 


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KIYONAGA 

Holiday  Group  at  Gotenyarua 


AND  THEIR  DESIGNERS 


Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

33  Tall  hand-coloured  print.  The  actor  Sannogawa  Ichimatsu  as 
a woman  holding  a folded  letter. 

Lent  by  a Collector. 

34  Urushi-ye.  Segawa  Kikunojo  as  a woman  holding  a warrior’s 
helmet. 

35  Beni-ye.  Procession  of  the  Corean  ambassadors. 


ISHIKAWA  TOYONOBU 

One  of  the  most  important  of  the  Ukiyoe  masters.  Born  in  1711,  died 

in  1785.  Pupil  of  Shigenaga,  and  probably  of  Masanobu  whose  style 

he  closely  assimilated. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

36  Large  beni-ye.  The  actors  Segawa  Kikunojo  and  Sannogawa 
Ichimatsu. 

Lent  by  Samuel  Isham. 

37  Wide  print  from  three  colour-blocks.  Women  and  children  at 
the  seashore. 

Lent  by  a Collector. 

38  Tall  hand-coloured  print.  Segawa  Kikunojo  as  a woman  read- 
ing a letter. 

39  Two  sheets  from  a beni-ye  triptych.  Musume  carrying 
umbrellas. 

Lent  by  Hamilton  Easter  Field. 

40  Beni-ye.  Mother  and  son. 

41  Print  from  three  colour -blocks.  Boys  rolling  a large  snowball. 

42  Print  from  three  colour-blocks.  Man  struggling  with  a refrac- 
tory umbrella;  a woman  looking  on. 


JAPANESE  COLOUR-PRINTS 


TORII  KIYOHIRO 

Pupil  of  Kiyomasu.  His  known  works  are  exclusively  beni-ye,  exe- 
cuted from  about  1745  to  about  1755. 

Lent  by  Hamilton  Easter  Field. 

43  Beni-ye.  Nakamura  Hatsugoro  as  Sakura  no  Suke. 


TORII  SHIRO 

Known  as  Kiyonobu  the  second,  all  of  his  prints  being  signed  Torii 
Kiyonobu.  He  was  the  eldest  son  of  Kiyomasu.  Worked  from  about 
1740  to  about  1755,  when  it  is  probable  that  his  death  occurred.  Some 
of  the  most  charming  of  the  beni-ye  prints  are  from  his  hand. 

Lent  by  Howard  Mansfield. 

44  Beni-ye.  Yamamoto  Iwanojo  as  a woman  dancing  by  a fox- 
trap  in  a rice  field  under  a blossoming  cherry  tree. 


TORII  KIYOMITSU 

Second  son  of  Kiyomasu,  whom  he  succeeded  as  the  head  of  the  Torii 
line.  An  artist  of  distinction.  Was  the  first  to  add  a third  colour-block 
to  the  original  two.  He  was  born  in  1735  and  died  in  1785.  After  1765 
he  designed  only  a few  prints,  and  appears  to  have  designed  none  later 
than  about  1768. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

45  Wide  print  from  three  colour-blocks.  The  No  performance  of 
“Mu sume  Dojoji.” 

46  Wide  print  from  three  colour-blocks.  Daimyo  procession  game 
by  women  and  children. 

47  Print  from  three  colour-blocks.  Iwai  Hanshiro  as  a woman 
reading  a letter  while  seated  upon  a carabao. 

C36I] 


Catalogue  No.  138 

Actual  size  14j>^  X 30/^  inches 


* 


AND  THEIR  DESIGNERS 


Lent  by  Howard  Mansfield. 

48  Beni-ye.  Scene  from  a drama.  Ichimura  Kamezo  (standing) 
as  Wakemi  Goro  and  Nakamura  Tomijuro  as  Akoya. 


SUZUKI  HARUNOBU 

The  central  figure  in  Ukiyoe  and  the  eminent  master  under  whose  hand 
the  art  of  colour-printing  was  brought  to  perfection  in  the  sixties  of  the 
eighteenth  century.  He  was  a draughtsman  of  extreme  elegance  and 
power,  and  his  works  have  a charm  that  is  peculiarly  their  own.  He 
died  on  July  7,  1770,  when,  says  Shiba  Kokan  in  his  book  “Kokan 
Kokai-ki,”  he  “had  hardly  passed  his  fortieth  year.” 

Lent  by  Samuel  Isham. 

49  Girl  attendant  in  an  archery  gallery  gathering  up  arrows.  One 
sheet  of  a diptych. 

50  A young  woman  showing  a caged  bird  to  a young  man  seated 
before  her,  and  surreptitiously  taking  a love  letter  from  him. 

51  A vendor  of  fan  mounts  stopping  to  talk  to  a young  woman 
standing  in  front  of  a shop. 

52  Hashira-ye.  Woman  writing  a love  letter. 

53  Hashira-ye.  Woman  holding  a pet  dog. 

54  Burlesque  scene.  Girls  carrying  Daikoku  (the  genius  of  wealth 
— one  of  the  “Seven  Fortune-beings”). 

Lent  by  Howard  Mansfield. 

55  Girls  carrying  Daikoku.  A later  impression  with  different 
colouring. 

56  An  archer  and  two  girls  near  a screen.  Calendar  for  1765. 

57  Young  woman  before  a torii,  carrying  a hammer  and  nails  with 
which  to  perform  an  incantation. 

58  Two  young  women  on  their  way  to  the  public  bath-house 
through  a storm  of  snow  and  rain. 

59  Two  girls  on  a terrace  near  a torii,  in  the  time  of  the  cherry- 
blossoming. 

[37] 


JAPANESE  COLOUR-PRINTS 


60  Two  girls  gathering  mume  flowers  from  a tree  overhanging  a 
wall. 

61  Woman  reading  a letter  by  the  light  of  an  andon  (portable 
lamp  with  wind  screen)  which  another  woman  is  trimming. 

62  Geisha  and  a young  girl  standing  on  the  bank  near  the  rapids 
of  the  Tamagawa. 

63  Young  woman  seated  in  a window,  conversing  with  another 
young  woman  seated  on  the  floor  and  holding  a picture-book. 

64  Young  man  removing  snow  from  the  geta  of  a young  woman. 

65  Woman  lying  upon  the  floor  of  a room,  reading  a book,  and 
another  woman  standing  beside  her,  holding  a pipe. 

66  Young  woman  seated  on  a veranda  after  her  bath,  having  her 
back  massaged  by  her  maid. 

67  Young  man  talking  to  a girl  through  the  bars  of  a window. 

68  A burlesque  apparition  of  Fugen.  Instead  of  the  Buddhist 
divinity,  a young  woman  seated  on  an  elephant  appears  on  a 
cloud  before  a priest  kneeling  in  prayer. 

69  Lovers  walking  in  the  snow  under  an  umbrella.  One  of  Haru- 
nobu’s  most  distinguished  prints. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

70  The  Sleeping  Elder  Sister.  First  state.  Early  impression 
signed  by  the  printer,  Kyosen. 

Lent  by  Hamilton  Easter  Field. 

71  The  Sleeping  Elder  Sister.  Second  state.  Changes  made  in  the 
blocks  and  colouring. 

Lent  by  a Collector. 

72  The  Sleeping  Elder  Sister.  Still  later  impression.  Colouring 
changed  again,  and  the  number  of  blocks  increased  from  ten 
to  thirteen. 

Lent  by  Hamilton  Easter  Field. 

73  The  Hole  in  the  Wall. 

74  Mother  holding  her  infant  son. 

U38  3 


SHUNCHO 

Women  watching  Girls  bouncing  Balls 


Catalogue  No.  143 
Actual  size  15  X 10  inches 


AND  THEIR  DESIGNERS 


75  At  the  entrance  gate. 

76  Mother  taking  her  infant  son  from  another  woman  and  hand- 
ing her  a letter. 

77  Lovers  in  a palace. 

Lent  by  a Collector. 

78  Musume  walking  up  a flight  of  steps  leading  to  a temple. 

79  Lovers  playing  battledore  and  shuttlecock;  the  young  man 
climbing  a ladder  to  disengage  the  shuttlecock  caught  upon  the 
branch  of  a mume  tree. 

80  Hashira-ye.  Woman  in  night  attire  standing  by  her  bedside 
reading  a letter. 


SHIBA  KORAN 

An  artist  who  is  best  known  as  a clever  imitator  of  his  master,  Haru- 
nobu,  whose  signature  he  forged  upon  a number  of  prints.  He  also 
used  the  “go,”  or  studio  name,  Harushige  in  signing  prints  in  the  Haru- 
nobu  manner.  In  later  years  he  painted  pictures  in  semi-European 
style,  and  made  copper-plate  engravings  which  were  coloured  by  hand. 
He  was  born  in  1747  and  died  in  1818. 

Lent  by  Samuel  Isham. 

81  The  courtyard  of  a house  in  the  Yoshiwara.  A woman  reading 
a letter  and  a girl  attendant  standing  beside  her  holding  a tray. 
Signed  Harunobu. 


SHOSHOKEN 

This  is  the  pseudonym  of  an  artist  of  distinction  whose  identity  has  not 
been  determined.  His  known  works  are  calendar  prints  for  1765. 

Lent  by  Samuel  Isham. 

82  Stout  lady  crossing  a room  in  a palace  supported  by  two  atten- 
dants. The  use  of  gold  leaf  is  notable. 


JAPANESE  COLOUR-PRINTS 


KITAO  SHIGEMASA 

One  of  the  noted  artists  of  the  school.  Was  famous  for  his  skill  as  a 
calligrapher,  being  reputed  to  have  no  superior  in  his  day  in  either  of 
the  “three  capitals,”  Yedo,  Kyoto,  or  Osaka.  His  prints,  which  are  rare, 
are  generally  of  much  distinction.  He  was  born  in  1740,  and  died  in 
the  second  month  of  Bunsei  3 (February  or  March,  1820). 

Lent  by  Howard  Mansfield. 

83  Children’s  puppet  show. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

84  Beni-ye.  Segawa  Kikunojo  and  Ichimura  Uzaemon  as  Izumo 
no  Okuni  and  Nagoya  Sanza,  two  komuso,  playing  upon  shaku- 
hachi. 

Lent  by  a Collector. 

85  Two  geishas. 


ISODA  KORYUSAI 

The  most  important  pupil  of  Harunobu,  whose  style  he  followed 
closely  in  his  early  works.  Later  he  developed  a manner  of  his  own. 
As  a designer  of  pillar  prints  and  of  prints  of  birds,  he  was  espe- 
cially successful.  He  was  a samurai  and  associated  with  samurai  of 
the  superior  class.  The  director  of  the  mint  was  one  of  his  most  inti- 
mate friends  and  patrons.  About  1781  he  gave  up  print-designing, 
devoted  himself  to  painting,  and  was  given  the  honorary  title  of  Hokvo. 
The  dates  of  his  birth  and  death  are  not  known. 

Lent  by  Samuel  Isham. 

86  Hashira-ye.  Musume  leaping  from  the  balcony  of  Kiyomidzu 
temple  with  an  umbrella  as  a parachute. 

87  Woman  standing  on  the  engawa  of  a house,  admiring  snow- 
laden bamboo  branches;  back  of  her,  a girl  and  a young  boy 
looking  through  a window. 

oon 


Fete  in  Nobleman’s  Palace 


AND  THEIR  DESIGNERS 


Lent  by  Howard  Mansfield. 

88  A Yoshiwara  beauty  arranging  flowers;  two  girl  attendants 
looking  on. 

Lent  by  a Collector. 

89  Hashira-ye.  Musume  carrying  her  infant  brother. 

90  Hashira-ye.  Young  woman  poling  a boat  in  a lily-pond. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

91  A Yoshiwara  beauty  on  parade,  attended  by  a girl  and  a boy. 

92  Hashira-ye.  The  bijin  Jurojin.  A young  woman  is  represented 
in  place  of  the  long-life  being  whose  attributes  are  a crane  and 
a tortoise. 


KATSUKAWA  SHUNSIiO 

A contemporary  of  Harunobu  and  one  of  the  greatest  of  the  Ukiyoe 
artists.  He  was  highly  renowned  in  his  day  and  had  many  pupils  who 
became  famous.  Most  of  his  prints  were  portraits  of  actors  in  charac- 
ter. He  was  born  in  1726  and  died  on  January  22, 1793. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

93  Segawa  Kikunojo  as  a woman  holding  a red  fan. 

94  Two  actors  in  character.  The  seated  figure  is  Danjuro,  the 
leading  “star”  of  the  Yedo  stage. 

Lent  by  Samuel  Isham. 

95  Actor  in  a female  role. 

Lent  by  Howard  Mansfield. 

96  Iwai  Hanshiro  as  a woman  standing  and  holding  a fan  behind 
her. 

97  Yamashita  Kinsaku  in  a female  role. 

98  Actor  of  the  Ichikawa  line  in  the  role  of  Shibaraku  at  the  Ichi- 
mura  theatre. 


JAPANESE  COLOUR-PRINTS 
Lent  by  a Collector. 

99  Otani  Hiroji  as  an  Amazake  vendor. 

100  Hashira-ye.  Nobleman  carrying  a court  lady  on  his  back. 
Probably  a parody  upon  the  suicide  of  Ohan  and  Choyaemon. 

101  Wide  hashira-ye.  The  Woman  in  Red. 


IPPITSUSAI  BUNCHO 

An  artist  of  samurai  rank  who,  for  a few  years,  designed  actor  prints 
in  the  manner  of  Shunsho,  which  have  great  distinction  of  style  and 
colour.  He  was  celebrated  also  as  a writer  of  comic  odes.  He  died  on 
May  18, 1796. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

102  Bando  Hikosaburo  as  a woman  of  the  Yoshiwara  talking  to  a 
group  of  men  through  the  mise. 

103  Nakamura  Tomijuro  as  Josan  no  Miya. 

Lent  by  Samuel  Isham. 

104  A Yoshiwara  beauty  accompanied  by  her  kamuro  (girl  atten- 
dant) bearing  a cage  of  fireflies. 

Lent  by  Howard  Mansfield. 

105  Ichikawa  Korazo  as  a man  carrying  an  actor’s  dressing-case. 
Lent  by  Hamilton  Easter  Field. 

106  Scene  from  a drama.  Yamashita  Kinsaku  as  a woman  holding 
a roll  of  paper,  conversing  with  Ichikawa  Komazo,  who  holds 
a letter  in  his  hand. 


KATSUKAWA  SHUNKO 

Pupil  of  Shunsho  and  generally  regarded  as  his  most  talented  follower. 
His  career  as  a print-designer  was  cut  short  by  a stroke  of  paralysis 
when  he  was  in  his  forty-fifth  or  forty-sixth  year,  but  he  lived  for  about 

£42] 


SHARAKU 

Two  Actors 


Catalogue  No.  178a 
Actual  size  14%  X 914  inches 


AND  THEIR  DESIGNERS 

forty  years  thereafter  as  a recluse  at  Zenfukuji  temple,  Azabu,  Yedo, 
where  he  died  in  1827. 

Lent  by  Samuel  Isham. 

107  Iwai  Hanshiro  in  a female  role. 

108  The  actor  Ichikawa  Monnosuke. 

109  Nakamura  Tomijuro  as  a tsuzumi  player. 

Lent  by  Howabd  Mansfield. 

110  Arashi  Tatsuzo  as  a woman  flower-vendor. 


KATSUKAWA  SHUNYEI 

Pupil  of  Shunsho  and  an  artist  of  ability.  At  first,  for  a short  time,  he 
called  himself  Shunjo.  He  was  born  in  1767,  and  died  on  December 
13, 1819. 

Lent  by  Estate  of  Fbancis  Lathrop,  Deceased. 

111  Abijin. 

Lent  by  Howard  Mansfield. 

112  Ichikawa  Monnosuke  in  a female  role. 

Lent  by  Samuel  Isham. 

113  Scene  from  the  tenth  act  of  “Chushingura.” 

114  Ichikawa  Komazo. 


UTAGAWA  TOYOHARU 

Pupil  of  Toyonobu.  As  a painter  his  reputation  is  justly  high.  He  did 
not  design  many  prints.  He  was  born  in  1735  and  died  on  March  3, 1814. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

115  Cock,  hen,  and  chickens. 

w 


JAPANESE  COLOUR-PRINTS 


TORII  KIYONAGA 

Everything  considered,  the  greatest  artist  of  the  Ukiyoe  school  and  the 
culminating  figure  in  its  forward  movement.  He  was  born  in  1742 
and  died  in  1815.  His  finest  prints  were  designed  between  1780  and 
1790. 

Lent  by  Samuel  Isham. 

116  The  Writing-lesson. 

117  Fair  travellers  resting  on  a bench  by  the  roadside. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

118  Two  geishas  entertaining  a young  man. 

119  Court  ladies  on  the  engawa  of  a palace. 

Lent  by  Howard  Mansfield. 

120  Three  girls  going  to  the  baths  at  the  hot  springs  near  Miya- 
noshita. 

121  Man  and  two  women  masquerading  in  komuso  attire. 

122  Group  of  three  women  and  a boy. 

123  Two  women  standing  beside  a seated  geisha  who  is  playing  on 
a samisen. 

124  Yoshiwara  beauty  attended  by  two  women  (shinzo)  and  two 
girls  (kamuro). 

125  Two  young  women  and  a servant  on  the  balcony  of  an  inn. 

126  Family  group  on  their  way  to  a temple  for  the  naming  cere- 
mony of  the  boy  who  is  carried  on  the  shoulders  of  an  atten- 
dant. 

e 

127  An  actor  and  two  women  examining  utensils  for  the  tea  cere- 
mony. 

128  Women  and  children  promenading  in  summer  costume. 

129  Scene  from  a drama.  Two  actors  playing  the  game  of  “go” 
with  mume  blossoms,  and  a third  actor  as  a woman  in  the  role 
of  an  umpire  standing  between  them. 

£44  3 


UTAMARO 

Woman  with  Musical  Toy 


Catalogue  No.  201 

Actual  size  15X  X 10X  inches 


AND  THEIR  DESIGNERS 


130  Two  young  women  walking  under  an  umbrella  and  followed 
by  a servant. 

131  Man  in  a black  haori  approaching  a temple  through  the  snow, 
accompanied  by  two  women. 

132  Diptych.  Group  of  women  under  a cherry  tree. 

133  Diptych.  Holiday  group  under  the  cherry  trees  at  Gotenyama. 
One  of  a series  of  twelve  diptychs  that  are  among  Kiyonaga’s 
finest  works. 

134  Boating  party  under  Ryogoku  bridge.  Two  sheets  of  a triptych. 

135  Triptych.  The  Peony  (botan)  Show. 

136  Triptych.  Women  landing  from  a pleasure  boat. 

Lent  by  a Collector. 

137  Hashira-ye.  Woman  in  winter  costume. 

138  Triptych.  A picnic  party  under  the  cherry  trees. 

139  Group  of  women  on  the  bank  of  the  Sumida  river. 

140  Group  of  women  near  a temple. 

141  Three  women  at  a public  bath-house. 


KATSUKAWA  SHUNCHO 

Pupil  of  Shunsho.  Followed  the  style  of  Torii  Kiyonaga.  His  works 
closely  resemble  those  of  the  Torii  master,  but  have  less  force.  Worked 
from  about  1775  to  about  1795.  In  some  of  his  later  prints  he  imitated 
Eishi’s  prints  in  the  Utamaro  manner.  The  dates  of  his  birth  and 
death  are  not  known. 

Lent  by  Samuel  Isilam. 

142  One  sheet  of  a triptych  showing  a nobleman’s  mansion  from 
the  garden,  with  the  people  engaged  in  various  occupations. 

Lent  by  Howard  Mansfield. 

143  Women  watching  girls  bouncing  balls. 

144  Diptych.  Group  at  the  entrance  to  a temple. 

145  Three  women  in  a temple  compound. 

[45] 


JAPANESE  COLOUR-PRINTS 
Lent  by  Hamilton  Easter  Field. 

146  Group  of  girls  at  a tea  booth  by  the  seashore. 


Lent  by  a Collector. 

147  A picnic  party.  Two  sheets  of  a triptych. 

148  Women  picking  wild  flowers  under  a cherry  tree  in  bloom. 


HOSODA  EISHI 

One  of  the  foremost  artists  of  the  school.  He  was  a samurai  of  high 
rank,  and  a pupil  of  Kano  Eisen.  For  three  years  before  he  took  to 
Ukiyoe  he  held  an  official  post  in  the  household  of  the  shogun  Iyeharu. 
Eishi  was  a master  of  all  the  resources  of  the  art  of  colour-printing  and 
his  prints  are  characterized  by  great  elegance  and  refinement.  He 
worked  from  about  1782  to  1800,  when  he  gave  up  print-designing.  He 
died  in  1829. 

Lent  by  Samuel  Isham. 

149  Triptych.  Eight  women  and  a man  playing  the  game  of  “Catch 
the  fox.” 

150  Group  of  Yoshiwara  women  and  attendants. 

151  Someyama  and  her  kamuro  playing  with  a pet  dog. 

152  Yoshiwara  women  admiring  a branch  of  mume  tree  with  un- 
opened flower  buds. 

153  Triptych.  Fete  in  a nobleman’s  palace.  Ladies  composing 
poems. 

Lent  by  Mrs.  William  Benjamin  Wood. 

154  Another  copy  of  the  foregoing  triptych.  Shows  how  beauti- 
fully the  purple  changes  by  chemical  decomposition. 

Lent  by  Howard  Mansfield. 

155  Oiran  and  attendants  on  parade. 

Lent  by  a Collector. 

156  A Yoshiwara  beauty.  Ink  proof  of  the  key  block. 

[46] 


Catalogue  No.  209 
Actual  size  15  X 30  inches 


AND  THEIR  DESIGNERS 


157  Two  women  entering  a room  in  the  palace  of  Prince  Genji, 
where  a young  girl  is  seated  playing  with  a kitten. 


YEISHOSAI  CHOKI 

An  artist  of  ability,  though  not  quite  of  the  first  rank.  His  prints  are 
rare.  He  worked  at  first  in  the  style  of  Kiyonaga.  Later  he  imitated 
Utamaro,  and  changed  his  “go,”  or  studio  name,  to  Momokawa  Shiko. 

Lent  by  a Collector. 

158  Woman  and  child  catching  fireflies. 


TOSHUSAI  SHARAKU 

This  artist  was  by  profession  a performer  of  the  stately  and  aristocratic 
No  dramas  in  the  service  of  Hachisuka,  Daimyo  of  Awa.  During  the 
period  from  about  1790  to  1795  he  designed  a small  number  of  cari- 
cature portraits  of  actors,  which  have  great  force  and  distinguished 
character. 

Lent  by  Yamanaka  & Company.1 

159  The  actor  Tanimura  Torazo  in  the  role  of  Kakogawa  Honzo. 

160  Ichikawa  Ebizo  in  the  role  of  Ko  no  Moronao.  This  print  bears 
an  inscription,  probably  contemporary,  giving  the  date  1794. 

161  Onoe  Matsusuke  as  one  of  the  Loyal  Ronin. 

162  Bando  Hikosaburo  in  the  role  of  Yuranosuke. 

163  Iwai  Hanshiro  in  the  role  of  Oishi,  wife  of  Yuranosuke. 

164  Ichikawa  Monnosuke  as  one  of  the  Loyal  Ronin. 

165  Morita  Kanya  as  one  of  the  Loyal  Ronin. 

166  Segawa  Tominojo  in  the  role  of  Kaoyo  Gozen,  wife  of  Yenya. 

167  Sawamura  Sojuro  in  the  role  of  Yenya  Hanguwan. 

168  Arashi  Tatsuzo  in  the  role  of  Yoichibei. 

169  Sakata  Hangoro  as  Ten-ichi-bo  Hotaku. 

1 All  the  prints  lent  by  Yamanaka  & Company  have  been  acquired  by  Messrs.  William  S.  and 
John  T.  Spaulding,  of  Boston. 

07:1 


JAPANESE  COLOUR-PRINTS 

170  Segawa  Tominojo  and  Nakamura  Manjuro  in  female  roles. 

171  Nakajima  Utaemon  and  Nakamura  Konozo. 

172  Ichikawa  Omezo  in  the  role  of  Sukeroku. 

173  Matsumoto  Koshiro  in  the  role  of  the  otokadate  Banzuin 
Chobei.  This  print  is  commonly  known  as  “The  man  with  the 
pipe.” 

174  Matsumoto  Yonesaburo  in  the  role  of  Okaru,  wife  of  Kampei. 

175  Ichikawa  Yaozo  in  the  role  of  Hayano  Kampei. 

176  Kosagawa  Tsuneyo  in  the  role  of  Tonase,  wife  of  Kakogawa 
Honzo. 

177  Otani  Oniji  in  the  role  of  Sadakuro. 

178  Sannogawa  Ichimatsu  in  a female  role. 

178a  Nakayama  Tomisaburo  in  the  role  of  Komurasaki,  and  Ichi- 
kawa Komazo  as  her  lover,  Shirai  Gompachi,  walking  with  her 
under  a huge  umbrella. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

179  Segawa  Tominojo. 


KITAGAWA  UTAMARO 

One  of  the  most  gifted  and  most  widely  known  of  the  Ukiyoe  masters. 

Extraordinarily  facile  and  brilliant.  Born  in  1753  and  died  in  1806. 

Lent  by  Samuel  Isham. 

180  Triptych.  Imaginative  view  of  a fete  in  a Chinese  palace.  It 
is  a medley  of  Chinese  and  Japanese  details  intended  as  a take- 
off upon  the  treatment  of  Chinese  subjects  by  the  painters  of 
the  classic  schools. 

181  The  hour  of  the  Boar  (9  to  12  p.m.).  One  of  a set  illustrating 
the  twelve  hours  into  which  the  Japanese  day  is  divided. 

182  Diptych.  Women  in  a nobleman’s  palace,  painting  kakemono. 

183  Yoshiwara  beauties  on  parade. 

183a  A sheet  from  the  “Washing  day”  triptych. 

184  Woman  helping  a man  attire  himself  in  ceremonial  dress. 


Catalogue  No.  218 
Actual  size  10J4  X 15  inches 


* 


AND  THEIR  DESIGNERS 


185  Woman  bending  over  to  see  a baby  which  another  woman  is 
nursing  while  seated  before  a mirror,  arranging  her  hair. 

186  Woman  talking  to  a fan-mount  vendor. 

187  Triptych.  The  persimmon-gatherers. 

188  Triptych.  Procession  of  a noble  lady  and  women  attendants 
on  their  way  to  a temple,  bearing  offerings. 

Lent  by  Howard  Mansfield. 

189  Triptych.  Shadows  on  the  shoji.  Illustrations  of  three  effects 
of  sake  (rice  wine). 

190  Woman  arranging  flowers. 

191  The  kitchen.  One  sheet  of  a diptych. 

192  A night  excursion.  One  of  Utamaro’s  most  famous  prints. 

Lent  by  Hamilton  Easter  Field. 

193  Hairdresser  combing  a girl’s  hair. 

194  Woman  with  a young  boy  on  her  back,  watching  three  puppies 
at  play. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

195  Kitao  Masanobu  drunk  with  sake  at  a fete  in  a daimyo’s  palace. 
Part  of  a triptych. 

Lent  by  a Collector. 

196  Woman  wearing  a black  zukin,  and  a maid  bearing  a lantern. 

197  Woman  standing  on  a pier,  holding  an  umbrella,  and  convers- 
ing with  a man  seated  under  the  canopy  of  a boat. 

198  Woman  bearing  a teacup  on  a lacquer  stand. 

199  Woman  raising  the  mosquito  netting  over  her  bed  to  read  a 
letter  by  the  light  of  an  andon. 

200  Three  performers  in  a niwaka,  or  burlesque  theatrical  proces- 
sion, in  the  streets  of  the  Yoshiwara. 

201  Woman  holding  in  her  mouth  a “pokan-pokan” — a musical  toy 
of  thin  glass  which  makes  a peculiar  sound  when  air  is  blown 
through  it. 

£49] 


JAPANESE  COLOUR-PRINTS 

202  Triptych.  Boating  party. 

203  Triptych.  The  awabe  divers  of  Ise. 

204  Triptych.  Women  and  children  on  a bridge. 


UTAGAWA  TOYOKUNI 

A brilliant  artist  of  high  repute  in  his  day.  Some  of  his  prints,  espe- 
cially the  earlier  ones,  are  of  distinguished  quality.  He  was  born  in 
1769  and  died  on  February  24, 1825. 

Lent  by  Samuel  Isham. 

205  Triptych.  Street  scene  in  the  Yoshiwara. 

206  Large  head  of  an  actor. 

Lent  by  Hamilton  Easter  Field. 

207  The  actor  Koraiya. 

Lent  by  Howard  Mansfield. 

208  Musume  raising  a large  umbrella. 

209  Triptych.  Women  in  a public  bath-house. 

Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

210  Triptych.  The  Six  Tamagawa,  represented  by  six  women 
washing  strips  of  cloth  in  a rapid-flowing  stream. 

Lent  by  a Collector. 

211  Woman  accompanied  by  a maid  carrying  a lantern. 

212  Triptych.  Lady  emerging  from  a kago;  her  attendants  grouped 
about  her. 


KATSUSHIKA  HOKUSAI 

A master  of  extraordinary  versatility  and  power.  Perhaps  the  most 
widely  known  of  all  the  Japanese  artists.  He  was  born  in  1760  and 
died  in  the  spring  of  1849. 

C503 


HIROSHIGE 

Pines  at  Hamamatsu 


AND  THEIR  DESIGNERS 


Lent  by  Estate  of  Francis  Lathrop,  Deceased. 

213  Winter  landscape. 

214  Cranes  on  a snow-laden  pine  tree. 

215  Iris. 

216  Turtles  swimming. 

Lent  by  Hamilton  Easter  Field. 

217  Fuji  san  seen  beneath  a wave  of  the  sea  at  Kanazawa.  Hoku- 
sai’s famous  “wave.” 

Lent  by  Howard  Mansfield. 

218  View  of  Fuji  from  Ushibori;  a large  boat  moored  in  the  fore- 
ground. 

Lent  by  a Collector. 

219  Winter  landscape. 

ANDO  HIROSHIGE 

The  last  great  artist  of  the  Ukiyoe  school,  and  a consummate  master 
of  landscape  art.  Born  in  1797  and  died  on  October  12, 1858. 

Lent  by  Samuel  Isham. 

220  A cold  morning  at  Shono,  on  the  Tokaido. 

221  View  of  Fuji  san  from  Goyo. 

222  Pine  trees  on  the  shore  at  Hamamatsu. 

223  Flying  kites  at  Fukuroi. 

224  The  “fox  fires”  at  Oji. 

225  Kinryusan,  Asakusa,  in  snow. 

226  The  fields  back  of  Asakusa  seen  from  a window  through  which 
a white  cat  is  looking  out. 

227  Travellers  in  snow  at  Ishiyakushi. 

Lent  by  Albert  Gallatin. 

228  Evening  rain  at  Azumasha. 

csi: 


JAPANESE  COLOUR-PRINTS 
Lent  by  a Collector. 

229  Autumn  moon  over  the  river  Tama. 

230  The  evening  glow  at  Setta. 

231  The  crowd  in  Ni  Clio  (Second  Street)  at  night.  At  the  right  is 
the  Ichimura  theatre,  upon  which  and  upon  the  tea-house 
across  the  way  are  tall  signs  advertising  plays  and  actors. 

232  Aowi  and  bird. 

233  Pheasant  and  young  pine  trees  upon  a steep  hillside. 

234  Raftsman  on  the  Sumida  river  in  a snow  storm. 

Lent  by  Howard  Mansfield. 

235  Shower  at  Shono. 

236  Gyotoku;  boats  returning. 


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